Episode 31- Ask Me Anything- How to NOT Burn Out, Handling Picky Clients, and Global Shutters

Episode 31- Ask ME ANYTHING! This podcast features Jason speaking with a group of photographers online at the conclusion of one of his livestream sessions where he opens the forum for them to ask him anything related to the world of photography. The answers are raw, true and there's a lot of fun thrown in there as well.

Topics include:

*How To NOT burn out
*When to shoot for yourself vs. for a client
*How to Handle Picky Clients
*How to Control and Direct a Shoot
*How to Choose the Right Gear for the Right Job
*Global Shutters vs. High Speed Sync
*LED's vs. Strobes

And MORE!

Thanks for listening and don't forget to subscribe and SHARE!

Episode Transcript

Speaker 1 (00:03):
Hello, my friends, Welcome to Jason Lennard and Filter. This
is episode thirty one of my podcast, and this is
going to be something I haven't ever done before. I'm
going to share a version, or not really a version.
I'm going to share a portion of a conversation that
I had with a group of photographers on one of
my Zoom sessions. I was doing a live stream and

(00:25):
I told them, hey, I'd like to open it up
to all of you to ask me anything that you
have out there related to the world of photography, and
I will do my best to answer it. So a
group of ten to fifteen photographers at the end of
one of my live streams agreed to stay on and
we had a great conversation. I answered a lot of
questions in here, and I told him I was going
to turn it into the podcast, and that's what you're

(00:47):
about to listen to now. So we just recorded this
just a few minutes ago and I'm releasing it as
soon as I can, and I hope it helps. I
hope you enjoy this. Make sure to share my podcasts
as much as you can, and thanks for listening. This
is ask me anything?

Speaker 2 (01:04):
Is that Jason there?

Speaker 1 (01:09):
Yes, it is how are you brother? Good good s?

Speaker 2 (01:20):
You do say it perfectly, man, well I should.

Speaker 1 (01:23):
It's if you don't say your own catchphrase is right, then.

Speaker 2 (01:27):
I don't know what does it mean? Please?

Speaker 1 (01:30):
Yeah, I know, I know everybody. Everybody wants to know
the meaning of it's yeah, and people people in the past,
I got a lot of heat for people get really
pissed off, like you can't say that it's sacrilegious and
everything else, and I'm like, guys, it's not meant that way.
I'm not running around trying to be blasphemous. It. It's

(01:52):
just the world and that existent side of my head
is you know, I just go around and you know,
it's like my earliest one was fabulous. You know, I
go around singing it if something was really cool and
I just love it. I don't know, but I don't know.
I just it was like a Santa Like it was

(02:12):
a bit's amazing. So that's kind of that's kind of
where it comes. But maybe it comes from like holy Cow.
Maybe there's a it's some sort of a derivative of that.

Speaker 2 (02:25):
But yeah, thanks for the presentation, Jason.

Speaker 1 (02:30):
I'm welcome.

Speaker 2 (02:30):
I was just wondering in terms of.

Speaker 3 (02:35):
When you're doing the shoot, do you because I noticed
there that you took out the rotal light. You had
to you had to do the coffee paste transformed. H
Do you do any planning when you're taking your shots,
like thinking about the editing process later? So that wouldn't like,
for example, wouldn't it have been easier not to have

(02:56):
the light in the frame, Like do you take that
those considerations when you actually do your shoots?

Speaker 1 (03:04):
And that's exactly what Paul was at the shoot. And
Paul will tell you I even said to him at
the time, I'm gonna have to photoshop this damn light out.
And so in that same shoot, I use goatocs and
I used goatocks for some of the shots, and roder

(03:25):
light in some and the goat ocks. The benefit of
using the goatocks in those images was I was able
to put the the image the light out of the
shot and illuminate the subject. And that picture really when
you see the shoot from like the actual shoot that
comes out in the video that shoots wild because it

(03:47):
was her, but a lot of the shots were her
plus the dog, and the dog was actually in the
statue first. And then we decided to put her at
the very end. But to kind of speak to what
you just asked, the benefit of the goat was I
was able to shoot without the light in it. The
detriment of using goadocs was because, especially especially because of

(04:08):
the fact that I had a dog that was moving
around in the shoot, I would miss shots, you know,
because it would not fire every time. So that was
the constant struggle. You use a powerful light that gives
you a lot of light that you can set outside
of your shot, but then you miss shots, or you
use the rotal light. Is you're not going to miss shots,
but then you have to photoshop the light out. So

(04:29):
that's kind of the reality of what we're dealing with now. Again,
that also depends on your subject matter. If you're shooting
primarily head shots half shots of a person and you're
much tighter on them than the rotor light's going to
be fine. But when you're talking about those big, kind
of big shots like you see me do, that's where

(04:50):
you're gonna have to make that decision. So to circle
back to the original question, Yeah, I mean when I'm
looking at that shot, the first thing I said to
I'm gonna have to photoshop it out of shots, and
that's just the decision you have to make. And part
of that decision process was looking at the shot. You know,
that's this big estate manner and I'm looking at it.

(05:12):
And I looked at it and said, okay, I have
enough subject material here, sample material that I knew. Okay,
I can clone and flip this. Now if I look
at it and it's a very dynamic changing background and
there's nothing that I can clone and you know, swap
it over, then I may not use that light just

(05:33):
simply because of that, because if it's gonna be a
nightmare to edit, I'm not going to do it. So
does that make sense? Yes, thank you, you're welcome. What
are the questions? My friends?

Speaker 4 (05:49):
They said, how much I really appreciate patroon, because like
watching your presentation, was it like sped up like if
you use like plymal cup pro by like two.

Speaker 1 (05:59):
Thousand, Yeah, it was.

Speaker 2 (06:01):
I've ever sped up like a video by like fifteen
hundred or like two thousand.

Speaker 1 (06:04):
Well, no, the editing on here was sped up exactly.
And so I.

Speaker 2 (06:12):
Love Patreons, So anyone should join.

Speaker 1 (06:16):
Yeah, if you guys, go to my Patreon channel. It's
patreon dot com, slash jas Leonard Photography. But what Steve's
talking about is when I do Patreon, it's not like
that like you get to I'm You're literally watching me
do it, and we talk as I'm editing, and you're
asking questions as I'm going. But I hope you guys understand.
I just didn't want to risk any lag or any

(06:38):
issues that could result in the real time. So but
it I hope it gave you a good sample. But
the Patreon is really fun. What other questions do you
guys have or ladies? I know we have ladies on
here as well. I can see in the nameless, so
I want to make sure I'm respectful.

Speaker 2 (06:57):
Jason, do you use any substance to treat the building.

Speaker 1 (07:04):
Well? Any of the adjustments that I'll make from a
vertical transform perspective? You saw me do that like on
the last one. Let me go back here on the
last one at the very end, yes, inside of I'll
show this to you here. I'll share it real quick. Again.
You'll see I use lightroom. So right here at the

(07:28):
very end, I'll just move this so it doesn't go
as fast. But yes, you're gonna see me pull see
it right there. I'm using the transform tool right there
inside of light room to manipulate that, And normally I
would have I would have brought it up even more vertically,

(07:50):
but then I would have clipped the top of the
building and I just would have lost it. So but normally, yes,
you would want to shoot this. You would want to
have this edge here alive perfectly up parallel with the
edge of the image. But obviously I would lose the
top of the building if I did that. It was
a very tricky shooting scenario, to say the least.

Speaker 5 (08:15):
Okay, that's cool because I use the Excel deep Points.
I don't know if you used it before. It's meant
for streeting buildings and stuff like that.

Speaker 1 (08:24):
That's cool, that's cool. He Jason to me, Hi, Hey,
how are you. I'm glad that I'm glad it's you.
It's me too.

Speaker 2 (08:34):
You. Yeah, it's just I do quite a bit of editing.

Speaker 6 (08:41):
I just wondered how long you tend to spend on
particular images generally, because there's a point where if I'm
medicine quite a lot of images or just set sort
of actions up in Photoshop and not just tend to
batch process them until nine times out attorney generally come
out pretty decent. And do you just tend to sort

(09:01):
of pick very specific images and spend more time.

Speaker 2 (09:05):
With those, or do you do you have these.

Speaker 6 (09:07):
Sort of system where you kind of maybe batch at
it and for speed just to get the things done.

Speaker 1 (09:14):
Yeah, great question. A lot of my well not a lot.
All of my efficiency. The efficient part of my process
from the volume of images really relates to working in lightroom,
and that's where I do all of my SINC processing.
So first I'll go through and I'll call all of
my images and I'll bring them in. So if I

(09:35):
have five hundred images from a shoot, first I'll go
through and star the ones that I want to have
as my selections, the ones that are keepers where hories
didn't close, the flash didn't fire, focus missed, whatever, maybe,
And then you know, I'll let's say I have two
hundred out of the five hundred keepers or two hundred
keepers out of the five hundred, I'll then sink process
those and so that's that's the efficient part of the process.

(09:59):
But also keeping in mind that out of any shoot
that we do, even like if this whatever cool shoot
that you me or anybody does only like people are
running even care about seeing like five of those shots.
That's just the truth. So once I've called those two
hundred down and I sink process those two hundred, then

(10:21):
at that point, all I really need to do is
select my four, five six favorites that you may see
in a YouTube video or on a social media post,
and I'll fully finish those images, but the rest of
them will. That's that's the processing they get.

Speaker 6 (10:38):
Yeah, that's the thing I find out that sometimes quite
difficult to reason pick out of those final and reluctantly.

Speaker 2 (10:45):
Say goodbye to those other images.

Speaker 6 (10:47):
I think that's quite whittle them down and then just
pick out that sort of select that's final selection. And
she said, yeah, you're right, it's like the five six
seven images at the end of the shoot that you
already think they had.

Speaker 2 (10:59):
Okay, that a stand like.

Speaker 6 (11:00):
Ones from that, and then just leaving the rest as
they are. That's that's the bit that getting to that
point it can be quite challenging.

Speaker 1 (11:10):
It's very challenging for pretty much any photographer I've ever
spoken to myself included, and I can't tell you how
many times I've said to myself and I still to
this day say this to myself, and I'm that's this
is one of my things that I'm constantly trying to
improve on, and I have improved improved on it. But
I tell myself, Jason, you're taking too long, like move on, buddy,

(11:32):
and and I say that with me also always telling
myself and the people that I teach to slow down.
But the slowing down is really enabling your brain to process.
That's the slow down part of the process. But the hey,
you need to you need to speed up and you
need to move on relates to the analysis paralysis. As
we say, like it's like, Okay, you've looked at the

(11:54):
same damn image, Jason twenty times. Get over it. Nobody's
even going to see what you're seeing. It's like when
you have a small spill on the front of your shirt.
You're aware of it, you think everyone in the world
can see it, but very few people may notice it.
It's the same with editing. We get paralyzed with this
selection process. So for anybody who's joined me live, especially live,

(12:16):
when you see me go through an entire lightroom catalog
and you'll see me process all of these images, they're
really surprised how fast I choose and I don't him
and hall over it. It's like either I edit all
of this and I move on, or I'm just never
going to get caught up on my work. So for me,
it's hey, if I edit these, it's a lot better
than I'm never getting done.

Speaker 7 (12:37):
So So, Jason, so would you follow the same process
if you're doing, for example, like a wedding gallery of
five to six hundred photos.

Speaker 1 (12:51):
Absolutely so. My wedding clients get lightroom developed images. That's
just a reality of being a wedding shooter. Like any
wedding photographer, and God bless you if you do. But
any wedding photographer who goes through and individually photoshops four
to five hundred images, I'm surprised you're you haven't committed suicide.
And I'm not trying to, I mean, because that would

(13:14):
make me want to just say I can't do this anymore.
So for me personally, what I do is what I
just explained. Yeah, So the vast majority, like the images
that that I shut at the wedding that we did
in Portugal, Trudy, Yeah, ninety percent of those shots were
all edited. On ninety eight percent, we're all edited in

(13:36):
light room and then the you know other images were edited,
you know in other than five three percent whatever it
maybe we're edited in photoshop, luminar. They were finished, so
to speak. The only exception I would make to that
is if somebody and I and I do do this.
But this is back in the days, maybe five to
ten years ago, when people actually wanted to get a

(13:58):
lot of wedding albums, when albums where we're big thing.
Then I would say, hey, whatever you choose for a
wedding now album, I'll go through and finish those images.
And I also do tell my clients like, hey, if
you have it, if you have you know five shots
that are like these are my favorite, Jason, I love these.
Can you like do your thing to these five images?

(14:21):
Absolutely absolutely, I'd be more happy. And I don't like
try to nickel and diamond from there. But and I'll
just do it, you know, no extra charge. But if
and I did to have a model ask me this.
He paid me to do a shoot of him. I
did a shoot of him down at the beach. I've
posted some of those shots recently. But really cool guy.
He asked me the same thing. He wanted me to

(14:42):
remove some of the blemishes on his chest and everything,
and I said, hey, I can do five. I'll do
five for you. And so I did five. He loved
him and he says, all right, I love you, Jason.
I'm sorry to ask, but can I have another five more?
I said, no problem, but it's going to be fifty
dollars a shot and he said, no, never mind, I'm good.

(15:02):
So it's you just gotta know what your limits are.
And you know something I like to say is I
never say no, I just say how much?

Speaker 2 (15:11):
Okay, great, thank you.

Speaker 1 (15:12):
You're welcome. But realistically speaking, for anyone who tries to
do wedding photography and you are going through hundreds or
thousands of images, and if you are trying to photoshop
them individually, like I have photographers to this day who
come up who are still using Bridge or are still

(15:32):
using camera raw, and they're individually editing every single image
and they're not taking advantage of, you know, artificial intelligence.
They're not taking advantage of batch processing. And I know
Bridge is the old way that we used to batch process,
but welcome to the twenty first century, guys. I mean,
you gotta do sync processing with light room or something similar.

(15:55):
You're just gonna you're gonna lose it unless you're unless
you just don't shoot very often. But if you're like
me and you're shooting frequently, and this is a way
that you make a living, even if it's full time
or part time. You know, if even if it's part
time for you, you're working a full time job and then
you go shoot a wedding on the weekend, it's a
lot for you to go through and just edit every
single image individually. And one more thing that I'll take

(16:18):
more questions, but one more thing I'll add on that
is keep this in mind. The longer you take to
edit something, the higher the expectation will be. Now, I
have a high degree of you know, expertise that I
want to convey in the images that I produce to
my clients. But if I take three months to send
my wedding images because I individually edit every single one,

(16:40):
the expectation from the wedding client will be through the roof.
They will want to make sure those images, you know,
came from Michaelangelo. Okay. But if I if I get
those shots done and they're out to the clients in
two weeks, they are ecstatic. So you have to you
have to know that fine line you really do and
and work work how now do it as it works

(17:01):
best for your company? What other questions we're into to
ask me anything stage, so you can ask me anything
that you want, editing or whatever you want.

Speaker 8 (17:20):
Hey, Jason Sam here, Good to see you.

Speaker 1 (17:26):
By the way, Yeah, good to see you. I love
your hat.

Speaker 8 (17:29):
Yeah. So I have a question on.

Speaker 9 (17:35):
Basically, uh do you do you show clients images doing
the shoot? Because you know, one thing that I've I
asked myself is I think I can set an expectation of,
you know, what they might see if I show them
an image versus let's say, you know, because I feel

(18:01):
like I don't show them something it's kind of open
to like they might expect photoshops like crazy, right, Like
if I show them the image now they kind of
have an idea what it could look like.

Speaker 1 (18:15):
It's a great question. Actually, I would say that I
tend to steer clear of showing images to clients during
a shoot simply because it breaks It tends to break
up the flow of a shoot. It's not you know,
if anyone who's been around me, if I if you
look at the back of my camera, I mean, they
look good, they do, but I hate how it breaks

(18:39):
up a flow of a shoot. So what I tend
to do is when the shoot is over, I will
show them some shots. Now, the only caveat to that
is if I'm noticing that the client is struggling, if
they're really worried about how they look, and if they're
very timid or hesitant, and I can and I think
that showing them a shot will help bring them out

(19:00):
more than I will be more than happy to show
them some shots. So it's a case by case basis.
But I'm also not the photographer because there's there's some
guys or gals who do this who they're constantly turning
their camera around and showing it to them. And what
I have seen happen when photographers do that, Like I'll
have photographers come to my workshop, so I'm watching them
do it. It's not like I'm just you know, watching

(19:21):
somebody shoot on the on the download, but I'm I'll
be at a workshop and people have their individual time
with the models and they'll be constantly showing them shots. Well,
the model will once they learn that photographer is constantly
showing them shots. You're opening up yourself to where now
that subject is constantly that that is constantly asking to

(19:42):
see it, and then you get to a point where
they're like, okay, let me see the camera. And I've
had models do that to me when I made the
mistake of, you know, showing them shots too much, and
then they're like okay, let me see, Okay, let me see,
let me see, let me see now, and you're like, okay,
we really gotta we got to get going here. So
but yeah, it it's uh, I'm laughing at somebody's question

(20:03):
in type down below, but but we definitely are. I
just would really recommend that if you're going to show
images to a client, just don't have a rule, but
just have a guideline for yourself.

Speaker 8 (20:17):
Okay, I guess I have a follow up question that's related.

Speaker 10 (20:21):
Yeah, so what you know during cortorate sessions, I'm sure
maybe like a client might have suggestions or like ideas
of what you know, they want to shoot, which might
break up Like if you have a plan, right, you

(20:41):
kind of want to stick to the plan, but then
they have ideas, how do you respond to that when
they decide like, hey, we want to do this, which
might take more time and son's going out, you know.

Speaker 1 (20:52):
So that's a you have some really great questions, my man.
First off, I am always open the collaborative ideas if
I think that it's going to enhance the shoot. But again,
you have to be careful with that because, like you
just said, they could come and you have this idea
and then they're like, oh, let's run down to here,

(21:13):
and you run down here and you're gonna run out
of time. You have to have enough forethought to say
to yourself or to say to your client, hey, we
just don't have time to do that. I just did
a photo walk in Venice Beach and I actually told
the group ahead of time. I know everybody's gonna want
to go down to the water, and I'm more than
happy to do that, but if we do, we're gonna
lose twenty minutes of time trekking across the sand setting up.

(21:36):
So it just just heads up. I'm happy to do it,
but this is what's gonna happen if we do another
piece to that is. It depends on what kind of
shoot it is. Sam. Is it a collaborative shoot or
are you getting paid to do it? If you're getting
paid to do it. The way I view paid work
is simple, I'm there to create what you want me

(21:58):
to create for you. So that's where you have to
show a much greater degree of flexibility, like if a
model pays me. Like for example, I just mentioned the
shoot that I did with the gentleman down at the beach.
He paid me to shoot him. He wanted Shotsworth's portfolio,
so he paid me to go down to the beach
and shoot him. He had three different bathing suits that
were very important to him to showcase, and so because

(22:22):
he wants to become a brand rep for these three
different for this bathing suit company. Normally I would say, okay,
send me the outfits. Let me see what you are
going to be wearing. Send me pictures of you wearing
the outfits so I can see what it's going to
look like, and then I can decide if I think
that's going to work for the theme of the shoot.
Since he's paying me, it's like, hey, it's your shoe, brother,
I don't even care. You can wear whatever you want.

(22:43):
It's your shoe. I'll make it look the best that
it could possibly look. Now, if it's something that i'm
setting up or i'm paying a model. Now I have
complete control over that. So I think it just you
have to determine, you know, who's buttering the bread, so
to speak. And that's very important. And even though I
am getting paid to do a shoot, I'm still in

(23:05):
control of that shoot. And that's very important for all
of us to remember. If you relinquish control of a shoot,
it will turn into a nightmare. And I promise you
this from the bottom of my heart. Once you relinquish
that control, they will forget that you relinquished control. They
will forget that they took over, and then you will
be held responsible for however the shots look. So as

(23:28):
an example to that, if I'm at a wedding and
a wedding planner comes up, and it happens frequently, and
they want to try to take over the shoot or
direct you on what to do. You know, I can't
say how many times I've just said the line to
a wedding planner. I really appreciate your input, but you know,
this is what I'm that. This is my first go
around with a wedding planner. I really appreciate your input,
but you know I got this. Thank you so much.

(23:48):
And if they keep pressing Hey, we need you to
do this. I said, okay. Number one, I don't have
to do anything. Number two, I don't tell you how
to plan a wedding, don't tell me how to shoot it.
And if you've been around me, trust me again, I'll
be polite and professional. But I'm also going to set
my boundaries because that's why people don't want to shoot weddings.
It's because they get pushed around by everyone, pushed around

(24:09):
by a wedding planner, by the venue, by the mother
of the bride, the father of the bride, whoever it
may be. So you need to set those boundaries. And
it's like I did at the photo walk. Hey, we
can go down to the water, but if we do,
here's what's going to happen. So I often tell people
that being a great photographer is like being a lawyer,
like you have to advise your clients. I can do this,

(24:29):
but if I do, here's what the ramifications will be. Hey,
like you said, Sam, we can go down and do this,
but we're going to lose light. So hey, I'm happy
to do that for you. But if we do, then
we're just not going to have any light when we
get there. So maybe we get some shots on the way. Oh,
that's not a good idea. So instead of just being like, hey,
that's a stupid idea. I'm not going to do that,

(24:49):
you just tell them what's going to happen. You know, Hey,
we got fifteen minutes of light, so here's what we
can do. Does that help?

Speaker 2 (24:58):
Yeah?

Speaker 8 (24:58):
Thank you?

Speaker 9 (24:59):
Because again, like there was one scenario where my response
to it was I had shots planned, which they approved
and they liked it.

Speaker 8 (25:09):
But then during the shoot, they had ideas and I
was just looking.

Speaker 9 (25:12):
At the scenario and I knew that if I pursued
their ideas, I would have to.

Speaker 8 (25:21):
Sacrifice some of the shots we planned. And that's what
I told them, Like, goody, okay to do that.

Speaker 9 (25:27):
It's just that we probably have to let go of
some of these ideas that you approved and were planned.
So if you're okay with letting go of some of
these ideas, then we can pursue that.

Speaker 8 (25:39):
And they decided, you know what, now, let's pick to
the plan.

Speaker 1 (25:42):
Absolutely, and I think that's the perfect way to handle it.
And was it a paid shooter? Was it a regular shoot?

Speaker 2 (25:51):
Yeah, it was a paid Oh cool.

Speaker 1 (25:53):
Then you handled it. You handled it great, because you say, hey,
I could do that, but if we do, we're not
going to do some of the stuff that you wanted
to do.

Speaker 9 (26:03):
It's just sometimes again I'm not like, I don't have
a lot of photoshoots under my belt, so I kind
of struggle to communicate and you know, figure out where
to make a spand I guess.

Speaker 1 (26:16):
Yeah, And trust me when I say for as as
open and you know, clear as I am with some
clients and people, you know it. It took me time
to get to the point where you do that. And
why do any of us, How do any of us
get to that point? It's because we've been burned, right,

(26:37):
Like when I said they'll have a they'll have amnesia.
I've shot weddings and I've taken ideas from clients, and
I've taken ideas from wedding planners and then it didn't
turn out right, and then they'll get their wedding shots
afterwards and say, hey, why don't we have any shots
of this? Well, remember you wanted to go down to
the this. No I didn't want to do that. Yes

(26:57):
you did, No I didn't. I've actually we had to
take out metadata and so no, this is this is
literally what we did in that time. And so I
think it's very important that you that any of us
get more you know, photo shoots under our REPP because
it really helps us to you know, build up that determination,

(27:18):
because we don't want to get We don't want to
be on the wrong end of a proposition. What other
questions do you, guys and ladies have?

Speaker 2 (27:29):
I think you should included in the contract.

Speaker 4 (27:33):
Which part the part where you're saying, if I want
to do if I have a plan to do a
shoot and you come and tell me what to do,
and you waste my time and stuf find out, oh,
whether the kind of compass in and say we need
to change this with a change.

Speaker 5 (27:47):
I need to put it in the contract and say,
you know, in case the down the line they come
up to you and say you missed the show, you
missed that shocked, you were able to say to them
on the contract, we agree that you know, we can
do this.

Speaker 2 (27:59):
We'll come to that.

Speaker 1 (28:00):
I agree with you that it's a great idea to
have it in a contract, But what I'm trying to
advocate is a way for you to actually not end
up having to have a problem where you have a
fight afterwards and you have an unhappy client. So I
totally agree and think that it should be in a contract.
But what I'm also really advocating is for how to

(28:22):
handle it on site and that way it doesn't even
boil up to that, you know what I mean, because
if you shoot it down on site and you just say, hey,
I can't do that, or even better yet, there are times,
and I trust me that I have done this many times.
I've told anybody who works with me, hey, if something
goes down, start recording. Just get out your phone and

(28:44):
start recording something. And you know, if it looks like
anything's a little weird, or maybe not even weird, like
we're really changing plans. Like I'll even make fun not
make fun of it, but I'll make it a fun
example of I'll bring out my phone and go into
selfie mode and I'm like, hey, we're changing LANs here,
We're instead at we were planning on doing this, but
you know, we're so adventurous we're going to go do this,
and the clients want to do this. There's ways for

(29:06):
you to phrase it that it's their idea and you
get their buy and say, hey, you guys ready to
do this? Yeah, Okay, Hey, this was your idea. So
there's ways to do it where you're not, you know,
being abrupt, but you are setting those boundaries and I
think that that's that's very important. I am more strict
with people who aren't my clients. So if you're again

(29:28):
the wedding planner or the venue. You know, I even
told Disney Disney Disney, and I I told them to
stick it because I was really sick of the way
they were handling things me and other photographers at weddings,
and so, you know, I think it just boils down
to you having to figure out who is going to

(29:49):
serve you best. And at the end of the day,
it's your it's your clients. Your clients are the ones
that are going to refer you, refer you to other people,
and who are going to post your work. So you
to make sure that you handle that relationship as best
as you can. Thanks, You're welcome, Jason. Do you go ahead, Trudy?

Speaker 2 (30:11):
Sorry, Jason.

Speaker 7 (30:12):
Do you have all your models sign a model release
for in order to use their pictures on social media?

Speaker 1 (30:20):
Well, first off, if you're the photographer, you have an
inherent copyright, so you actually have complete rights to use
the images. So now you should have a model release
signed just so just like we're talking about earlier, so
everything is documented and there's no you know, confusion over

(30:41):
the matter. But it's really for the benefit of the
model for you to have for you to have them
sign a release. To be honest, where a release with
a model really comes into play is if you are
planning on using any of the images, like if you're
planning to sell them at stock photo, if you're planning

(31:02):
to sell them to another company, if you're planning to
sell the rights to your image. Those are the areas
where you really need to make sure you have your
I dotted and tease cross. So just for posting on
social media and stuff, you're gonna be fine. But if
you're planning on really generating income from it, and I'm
not talking about second or third passive type income of Okay,

(31:23):
I post it on social media, then people find out
who Jason Lenaire is and then because of that, through
some mechanism, at some point they book a workshop or
something that that has nothing to do there's no direct
cell related to that image. But if you're talking about, hey,
I'm gonna take this image and put it on a
T shirt and I'm gonna sell it, and then it
sells a million shirts and you become a millionaire. They're
going to want some of that money unless you really

(31:45):
have a great contract in mind. So keep in mind
what you plan on using the images for and if
you plan on ever using it for any of those
types of purposes. I really do recommend making sure you
have a very good contract in place. Okay, thank you,
you're welcome. One are the questions, kittles.

Speaker 2 (32:06):
I've just got a quick one, Jason on the LED.

Speaker 1 (32:10):
Yes, mister Paul.

Speaker 11 (32:13):
Quickie rote, let's just stigma road to light. But if
if you're using La LED one of the things that
I occasionally struggle with, and I didn't know if there's
you know, a quick or easy way in order to
speed this up a bit.

Speaker 2 (32:29):
But when using constant lights, is there a when you
sitch it on and you're trying to eliminate your subjects?

Speaker 11 (32:39):
I appreciate it all depends on ambient lights and everything
else that's surrounding it all, et cetera. But is there
a way or is there something that you look at
so that you can immediately look at it and say, yeah,
that's the right setting, that's the right power output.

Speaker 2 (32:54):
I'm good with that. I'm going to leave it where
it is. Is there?

Speaker 11 (32:57):
You know, if you were using a stroke you could
actually use alike me to. But obviously with that's LED.
Is there something that is there a process that you
go through that you just zip up and down on
that dial and you think, yet, that's that perfect?

Speaker 2 (33:13):
Or is that just experience?

Speaker 1 (33:15):
Well it's it's both, but I mean it is experience.
But instead of giving you some vague answers which some
people might give, I'll give a very simple answer that
comes from experience. If you're shooting with LEDs and it's
outdoors and it's daytime, crank it all the way up
to one hundred and don't even mess with any other setting.
And unless it overpowers them and it's just it's glaring

(33:37):
and making them squint their eyes, then either you have
enough light or you don't. So I don't even mess
around with stuff. I just turned the LED all the
way up to full power, and if it's too much light,
then I start putting modification on it. If it's still
too much light, that's when I would start turning it down.

(33:57):
As it relates to shooting indoors or a darker environment.
There is a very simple process where no light meter
is required. You just use their eyes because all of
our eyes, our cameras, their aperture blades right the sensor.
They're literally sensors or eyes are sensors for light. So
if somebody, if you turn on an LED too bright,

(34:20):
just like if we have a light hit our eyes
when we walk into a room. You know when you
walk out of a movie theater and you walk into
the lobby area and it's their sun coming in through
the doors and your eyes is kind of whoa, it's
too much. That's your eyes readjusting to the light. Well,
if you're shooting indoors a darker environment, kind of like
you saw me in the early example the girl in
the Blue Room. I turned the LED up until she's

(34:42):
until I said, does that hurt your eyes? And that
really helps because then when I turn it up, I'll say, okay,
tell me when it doesn't hurt anymore. And I know
it sounds like it's torture, but it's not. They always
laugh when I say this, but I'll start to turn
it down and all of a sudden they're like, oh,
it feels good. When they say it feels good, turn

(35:03):
it just a tick brighter. And that's not to be mean,
it's just that's where the proper exposure is going to lie.
So if you just follow that model when it comes
to LEDs, and again, I've been shooting LEDs even before
Rhodolite with Sony. I shot Sony LED's they're like dinosaurs.
But you get my point. That's all I've done. So
don't waste your time using LEDs outdoors in anything less

(35:26):
than full power. When it when there's daylight, you're wasting
your time shooting indoors. Again, follow that process and that'll
really help you to get there faster. It really will.

Speaker 2 (35:38):
Thank you, you're welcome.

Speaker 1 (35:42):
What are the questions, kiddos?

Speaker 2 (35:47):
So Jason, it's Larry from up in Toronto.

Speaker 1 (35:50):
I can tell I have you can tell you you
can see the frosty muscow? What is it? Muscoke, Muskoka?
What is it? I've been doing that shot.

Speaker 2 (36:00):
In the UH where you had the light unit. You
had to take it out in photoshop.

Speaker 12 (36:06):
I know that that was an LED exercise, but if
that would have been like Adjason Workshop or something, would
you have changed that to flash?

Speaker 2 (36:16):
Because you can get more power out of.

Speaker 8 (36:17):
It, and then moved it back.

Speaker 1 (36:23):
The simple and quick answer is yes. And the simple
and quick answer is that's the that's the majority of
how I shot that shoot. Yeah, I said that right, Yeah, yeah,
the Paul was there with me. He'll tell you. The
vast majority of that shoot because there was so much
light was shot with goodocs. Okay, that just I'll always

(36:47):
be straight with you guys. So that was a good
example of how I would use LED and how I
would photoshop that out. But realistically speaking, photoshopping that light
out of every single shot is not going to happen,
and it's it's just that's just a backbreaker. So no,
if I have to deal with the flash not firing,
sometimes that's what I'll deal with. And that's what we did.

(37:10):
Paul correct me if I'm wrong, But didn't we shoot
the goat ocks until it died or something, because usually.

Speaker 2 (37:17):
He started to the heat and then you.

Speaker 1 (37:21):
That's it. That's the whole reason we brought the road
to light. I was. I was so frustrated because either
the goat os you know, gives me great power, but
it overheats even in England, and it was not hot
at all in England on that day or it or
I do the road to light and I don't get
enough power for all of the conditions that I have,
And that's just I'm still waiting for that one company

(37:42):
to create that one light that never never overheats and
is brighter than the sun.

Speaker 8 (37:48):
So which model of the goatos are are you using?

Speaker 1 (37:54):
I'm using the six hundred, And somebody just asked a
question with a Godoks four hund or three hundred be sufficient?
In most cases, it wouldn't know, because it is. It
is worth noting that even though the Godocs six hundred
is a lot of power, you really do have to
modify that light or it's ugly, ugly light. It's just

(38:15):
too harsh. So yes, you have six hundred watt seconds
of power, but you have to put a baffle and
you know, an outer layer of diffusion on the front
of the modifier to be able to soften that light
to get it to where it looks very pretty. So
you got to pick your poison, you know. And Paul

(38:37):
will also tell you that there were sections of this
this shoot that I did that were just natural light.
So the natural light on some of the shots were fantastic.
Like there was a point in time where the sun
was hitting the back building, it was hitting the grass,
it was hitting her. Everything looked incredible, and I shot
at natural light. So I mean, for as much as

(38:59):
a reputation as I have for being an artificial light shooter,
trust me, if you've been around me, when natural light
is great, the lights go away, because that means I
can just shoot and not have to worry about anything,
which is fantastic. And that's why most people who do
shoot natural light shoot it because it's just easier to do.
And anyone who tells me otherwise is on crack. No,

(39:23):
it's true. I mean, it's just natural light is easier,
which is why when I'm presented with the opportunity to
shoot natural light, I'll always shoot it. But again it's
only it's only good usually one to two hours a
day at most. So you know, that's why knowing how
to do artificial light is is so important. I have
a quick question, Yeah, brother.

Speaker 2 (39:45):
The global startup when.

Speaker 4 (39:46):
It trickles down to like the other cameras, not just
say ninety three right, what's of a game changer?

Speaker 2 (39:52):
Do you think that's gonna be about? High speed seek?
Sink speak.

Speaker 1 (39:59):
How much of a game changer will I mean, I
think the global shutter is a is a beautiful thing
for a lot of folks out there who don't want
to worry about high speed sinc Lighting. That being said,
how many of us, myself and many of you on
this have already invested a lot into high speed sync lighting, right,

(40:21):
So that's where the rub comes in, Like you could
you know, yeah, okay, great, I'm gonna get a global
shutter and I don't have to use high speed sinc flash. Well,
but I already have hide speed sin flash. I think
for next generations it'll be a big deal, and I
think it will depend on the price point. I mean,
the A nine threes was six thousand dollars, so you know,

(40:42):
for most people, let's be real, that's that camera is
out of reach price wise. So you know, if we
get a global shutter in an A seven four and
the A seven four goes from you know, the mid
level camera, and you can apply this to any of
the other ones, but you know, brands, but because eventually
they'll all copy anyways, because they have to. But if
you've got a global shutter in an A seven four

(41:03):
and it takes the price from two thousand dollars or
twenty five hundred dollars, and now all of a sudden
that a seven four is four thousand dollars. Well, are
you going to drop an extra fifteen hundred to two
thousand dollars for a global shutter when you already have
high speed sink equipment? Now, and that being said for
those I mean to get too techi or geeky here,

(41:23):
but once you go down and do and you're not
shooting high speed sink, you do get more power out
of your lights. So that is one benefit that should
be noted. But again it depends on you know, if
you're a full time shooter and you can really justify
spending the money on it, and or you just even
have the money, you know, it may be worth it.

(41:44):
But for a lot of folks, unless the Global Shuttle
reaches a level where it's it works, you know, economically,
I think it's going to be difficult for people to
justify that since there's already the market is flooded with
high speed sinc equipment. So I think the global shutter
as of right now is much more of a luxury item.

(42:05):
And I think down the road it will become much
more of a norm, but it'll it'll take a while
to get there. That's such a cool feature, and it's
I'm sure it's not cheap.

Speaker 2 (42:17):
Thank you, Thank you so much.

Speaker 1 (42:18):
You're welcome.

Speaker 2 (42:19):
Man.

Speaker 1 (42:20):
What are the questions you guys have and ladies?

Speaker 7 (42:27):
When is your twenty twenty four workshop list coming.

Speaker 1 (42:30):
Out this month? It's coming out this month, and we
have some We're gonna have some really great stuff on there,
some big adventures.

Speaker 2 (42:39):
Can you be more specific?

Speaker 1 (42:43):
I'm not trying to be vague. I mean I would,
but I mean I want to take a group down
to I mean I'm gonna be doing tour stops, some
two or three day workshops. I'm gonna be doing some
some trips like Ecuador and Thailand, that kind of stuff.
I really want to get to some, you know, some

(43:04):
really exotic places and take people on some fun trips.
But that being said, let me ask you or anybody
else out there, what would you like to do? What
would encourage you to to want to sign up for
a workshop like what would be interesting to you six Flags?
What makes you think I can get into six Flags?

Speaker 13 (43:28):
I thought I thought you said you had like you
had some Uh.

Speaker 1 (43:35):
I do. I'm I'm just I'm just being a jerk.
So no, I definitely want to do six Flags, but
we are working on that as we speak. But six
Flags is and you guys will start to see some
footage of that coming out. I've been under an NDA
and I can't release any footage or anything on it.
But I've been working with the group that bought six
Flags for the last six months and I've been doing

(43:58):
shoots over there. It's been insane. But one of the
things that I'm really pushing on them to do is
allow me to bring groups in there, because that would
be such an epic experience to be able to do so.
But hopefully I would fully anticipate if it is going
to happen, it would happen next year easily. What else.

Speaker 5 (44:22):
Quick question, Jason, If I want to buy the road
lights for coprid work, say headshots and group shots, which
one would you recommend for a road light?

Speaker 1 (44:34):
Are you shooting indoors?

Speaker 14 (44:36):
It would be in those and definitely beyond those books,
Well then I would get the Overpro three.

Speaker 1 (44:49):
And it should be worth noting I said this in
the last live stream session, but just to be fair,
you know, and I'm still waiting on roat Light to
send it to me once they have one available. But
I am not working with a production model of the
Enova Pro three. I'm only working with the prototype, as
is anyone else that's running around with roto light. I'm
not the only one. So the full production model is
supposed to be about thirty percent brighter than what you

(45:12):
see here, so that will be an improvement. And as
soon as that light is made available, it would definitely
be amazing because then I could show people exactly what
it can do.

Speaker 2 (45:26):
Jason, Yeah, can you talk about what's the correlation?

Speaker 3 (45:32):
Because I know with like this regularly, like your gold
Dogs six hundred, you see it in terms of wat seconds.
What's the correlation of the LED lights like the roller lights,
like in terms of wait seconds?

Speaker 2 (45:46):
So then Nova whatever they say.

Speaker 1 (45:49):
Is Gnova Pro three, Thenovapro.

Speaker 2 (45:52):
Three, Like what's the correlation? Like, how do you?

Speaker 1 (45:54):
Yeah, how do you?

Speaker 2 (45:55):
How can you compare like a regular light? It would
in that in terms of power.

Speaker 1 (46:01):
Yeah, it really is frustrating that you can't get apples
to apples, right, And I speak from me because I
get asked this question all the time. Paul again was
with me and we tested this and if I can,
I'll release a video on this, depending on how the
footage came out. But we recorded a video where we
shot a model and we lined up the goatos with

(46:23):
the n Overpro three. And the reason I say it's
not really fair to release that video because again I'm
not working with the full power version of the Overpro three,
which is why it's really not fair to release that.
So once I get the Unoverpro three in full power,
then I would line those up. That was the best
way that I could do of saying, okay, I shot
this at a quarter power on the godocs at eighty

(46:45):
six hundred, and then I shot this at full power
on the Overpro three, and then okay, here you go.
Here's what it is. From a best guest perspective, I
think you're still looking at that three hundred watt seconds
kind of kind of area. To be honest with you,

(47:09):
you don't. I've said this to many folks. You don't
buy a roto light expecting it to replace an eighty
six hundred. You will be disappointed. It's not meant to
do that. So that's why everywhere I go, I have
an eighty six hundred and I have my roto lights
and truly seventy to eighty percent of the time I'm
using roto lights. But then if it's if I'm shooting
a lot outdoors and it's during bright times of the day,

(47:32):
then I'm I'm rolling with the goat ocs because it's
just what works for the job. So I'm not trying
to be you know, I'm not trying to be vague
in any way. I hope that that helps you. But
I think the best guess at the current versions that
I've used would be about three hundred wat seconds.

Speaker 11 (47:58):
I think I saw one, and I don't want to
get too involved in all the statistics and everything, but
I'm sure god Ops are coming out with an LED
which is about three and a half grand, and it's
similar to the eight twelve hundred in power. Also they're
saying it is, but I haven't seen it actually out

(48:18):
on any shelf yet.

Speaker 1 (48:19):
But really that's pretty fascinating.

Speaker 2 (48:22):
Yeah, it's it's definitely out there.

Speaker 11 (48:24):
Well, if it's not out there, it's been advertised, because
I'm obviously I was looking at the Enoverapro three with
having been with you on it, et cetera.

Speaker 2 (48:33):
So I was just interested to see because that would
be a massive game changer for me.

Speaker 1 (48:39):
I that is, that is incredible. I'm just trying to
piece together in my mind a couple of things and
maybe someone will something a link to it, but I
haven't seen that, so obviously that's that's that's news. That
would be awesome if there's a light that that could
crank out twelve hundred waitsac. That being said, we used

(49:03):
your eighty twelve hundred on some of these shoots, Paul, right, Yeah,
and I was even overheating that thing. Okay, that's the truth.

Speaker 2 (49:11):
We were.

Speaker 1 (49:12):
So I'm wondering, just as you say that, I'm wondering
how large would this thing be? The size of a house,
and how on the hell you would power something with
twelve hundred watt seconds equivalency?

Speaker 11 (49:24):
Absolutely, but he fucking find it or or email it
over to you so you can have a look.

Speaker 1 (49:29):
Yeah, because that's one thing that we have to always
look at with gear and I do this with road
light too, and I really do. It's not just a
matter of what it can output, but the practicality of
how you would actually use it, Like, is it something
that at the end of the day. For me to
be able to say yes to gear, I ultimately have
to say worse comes to worse. I could pick this up,

(49:52):
I could go out and do a shoot on my
own without any crew, because there are times where I'm
still shooting without a crew. So that being the case,
I don't want to use a lens or a light
or whatever else that I can't realistically use by myself.
So I think that that's something that all of us
have to look at. So, whether it's the unover Pro

(50:13):
three or this godocs that you're talking about, anything that
I would look at doing would have to kind of
pass that test, because I do wonder because even the
godocs ady twelve hundred, it's a car battery that you're
lugging around like it's a lot. I think that would
melt would well, That's why I'm saying, I'm curious that

(50:37):
now Paul's gonna have me going down a rabbit hole
looking for this Godos thing, because I'm just curious what
the practicality of it would be like for it to
actually push out the equivalency of twelve hundred watt seconds.
I'm like, I mean, if it can, then that would
be a huge game changer. But it also depends. This
is going to be used by Hollywood studios and it

(50:57):
has to be plugged in, you know, and if it
isn't going to be plugged in, if it's battery powered,
you know, how many batteries and how long would they last?
And you know, because even the OVA Pro three with
the big ass batteries that we put on the back,
it takes two batteries just to power that, and that's
not close to twelve hundred wat seconds. So I'm just
trying to think of how that would practically all come together.

(51:21):
So I'd be curious to I'm actually going to look
into this light and see what I can find out.

Speaker 2 (51:25):
So, Jason, I was. I caught a bit of.

Speaker 13 (51:31):
A rot A light talk the other day and they
were saying that with the A Nova, if you plug
it in to the outlet, that you get much more
power output.

Speaker 2 (51:45):
Have you tried that? Like, is that something that you've done?

Speaker 1 (51:50):
Number one? Nobody has ever said that to me, So
I don't know if that's.

Speaker 2 (51:56):
It's on YouTube video like it's.

Speaker 1 (51:58):
Uh, I don't tend to watch the people shoot tube videos.

Speaker 4 (52:03):
I'm just saying, you get twenty sevens instead of twenty
three thousand.

Speaker 2 (52:07):
If it's plugged in.

Speaker 1 (52:08):
Oh okay, well again, you guys are more to date
on that than I am. But I don't even if
that's true. It goes back to what I just said. Okay,
that's fine, and if you're going to be shooting in studio,
you're good to go. But if you plan on using
it outdoors that has no practical application.

Speaker 2 (52:30):
You can only get so much energy out of the female.

Speaker 1 (52:33):
Batteries apparently, if that's if that's the case, because that
would be obviously why the the you know, direct plug
in would work better than the batteries. But I'll just
reference what I just said five minutes ago. It ultimately
has to be something that I can pick up, take
with me and put somewhere that is going to cause

(52:54):
me to say, yeah, I want to I want to
use this. So I don't know if if, if you
can get more power plugging it in, all the more
you know, put intended, all the more power to you.
But I don't know. Again, you know how often I
would use that, I really wouldn't use it that often
at all.

Speaker 2 (53:13):
But from the title one to the aos two was
really great.

Speaker 1 (53:19):
I think for a lot of it. I think for
a lot of people, the Aos two, even even as
I go around and I talk to people, the Aos
two is such a game changer for a lot of
people because, yes, it doesn't have all the power that
we want, but it's just so portable and it does
crank out a good amount of power. Now then Overpro
three is definitely more powerful than the Aos two, But

(53:41):
the Aos two you can hold its own for the
size and the weight and the price. So it's still
my favorite light.

Speaker 2 (53:53):
The Jason if subject quick question about the Ninja smoke.

Speaker 1 (53:58):
Yeah, you get about forty five minutes out of a
battery charge.

Speaker 2 (54:04):
Yeah. All the other little knockoff ones are getting like
ten to eighteen minutes.

Speaker 1 (54:08):
Yeah, that's that they're crap. So, I mean the Smoke Ninja,
I'll just like any of my gear, it gets tortured.
So I mean tortured. I don't mean I abuse it
or bash it, but I mean I use it. I
really use it. So I mean, we'll do one of
those Smoke Ninjas at one of my you know, training sessions,

(54:28):
and we'll be cranking on it for two or three hours.
After about two hours is when it's just Okay, I'm done, but.

Speaker 2 (54:36):
Yeah, the al had sense. It get's about forty five minutes.

Speaker 11 (54:40):
But there's so many coming out right now, there's like
five or six that are just coming out.

Speaker 1 (54:47):
No, and give it about six months to a year
where someone makes a great knockoff of Smoke Ninja, and
that's where people like you and I will be buying
it like crazy off Amazon. But already no, but my
point is one that's actually good as good as Smoke Ninja,
but the uh perfect but the uh yeah no. But

(55:11):
maybe when they say forty five minutes or run time,
what they're mentioning what they're referring to as the fact
that just like any fog machine, you'll hold the remote
and the fog will come out and then maybe thirty
seconds you'll get thirty seconds of it, and then it
has to you know pause, so it can you know, recharge,
not recharge in a socket, but it can just you know,
just like a flash, it has to recycle, has to

(55:31):
recycle time. So maybe that's what they mean, like every
minute that you're pressing, it would if you took out
the breaks, it would lead up to forty five minutes,
which would kind of make sense because if you doubled
forty five minutes, it'd be an hour and a half.
So maybe that's about right, But like just leaving it
on and forty five minutes seems really low to me,
to be honest, what are the questions you ladies and

(55:58):
gentlemen have.

Speaker 2 (56:01):
Let's save some money on design any delights?

Speaker 5 (56:04):
What do you said, Jason, say again, let's save some
money and delights?

Speaker 1 (56:11):
Oh, save some money? Well, yeah, at some point in time,
I need to. I just need to build my own yeah,
my own gear. Yeah, exactly, at some point in time,
I need to do that when I stop shooting. My
biggest the biggest hindrance to my business success is my
creative juices. I don't stop. I don't stop creating long

(56:33):
enough to allow me to actually really uh do what
I need to do business once. I'm always just out
having fun. So you're seriously thank you, brother.

Speaker 5 (56:44):
I've seen a lot of vites on none of other
people with those respect, but you will just know you're
just want to cun.

Speaker 1 (56:53):
Well, thank you so much. I think what I try
to do in my videos is I'm just out there
creating and I'm not trying to really push like when
I watch all the other people, and they're getting massive
views because they're doing reviews on the A nine three.
And there's a part of me that always is like, oh,
I should really do that, because then it would really
increase my views. But I'm like, but I don't want

(57:16):
to do it. That's the problem. I have no desires
to go grab an A nine three, even though I
could get one and go do a review video on it.
I'm not gonna spend four days shooting the A nine
three and doing a review on it. And I'm not interested.
And it's not because it's Sony. It's just because I
want to be out creating artwork. I don't want to
be out just reviewing somebody's camera and selling gear for

(57:38):
other people. It makes anyway, You're gonna get me started, mo,
You're gonna get me started. It's one of the main
reasons I've tried to really scale back is it's like,
you know, Jason, you're making a lot of other people rich.
It's about time you try to do something for yourself.

(58:01):
What other questions Ian's on here? I could see Ian.
He looks like he's he's gonna attack us or something.

Speaker 8 (58:19):
I have a question on the rotal light.

Speaker 15 (58:23):
So one of the appeals to me is the design,
because the directionality of the light works differently as opposed
to traditional lights.

Speaker 2 (58:36):
So my my.

Speaker 9 (58:39):
Challenge with the rotal light is I feel like if
I ad a modifier, I kind of hinder what the
you know, what's so amazing about it? But also you know,
my my now my problem without using a model fire

(59:00):
is now I can't really shape the light as i'd like.

Speaker 1 (59:04):
That's correct, You're one hundred percent correct. So that's why
I don't use rotal light with modifiers outdoors. Number one,
it's just not bright enough to use with a lot
of modifiers outdoors during the day. Again, anytime that the lights,
anytime that it's a darker environment, that's when you pull

(59:25):
out all the modifiers and have a blast. And you
can easily modify a Rodo light with umbrellas or any
of the smart soft boxes, which I do love. You
can do any of those, But as it relates to
modifying them during the day when it's bright outside, no, again,
that's using the wrong tool for the wrong job. So

(59:46):
you know, take it indoors. I've used Roato lights with
even the back to the original AOS one or the
n Overpro one and over Pro two. You know, I've
put those on with seven foot parabolic umbrellas in indoor
locations or outdoor locations where there's no wind and had
some phenomenal results spreading the light, softening the light. It's
just absolutely gorgeous. But those are in darker environments. So

(01:00:09):
if you're shooting anything that's a brighter environment, you're almost
always going to have the road light at you know,
full power with very little modification.

Speaker 16 (01:00:23):
One more Yeah, and basically it's more about a personal thing.
One of my favorite thing about you, besides the whole
you make. You know, amazing images look simple in your
you know how you explain it, but the whole personal
aspect is just you know again you're you're really great

(01:00:44):
with the motivational writing.

Speaker 15 (01:00:46):
But also I want to know how often do you
do personal shoots.

Speaker 1 (01:00:52):
That's a great question. I do a lot of personal shoots.
I'd say I do at least two to three personal
shoots a month, simply because that you need to keep creating,
that you need to keep that creative juice alive. The
reason why photographers burn out is because they stop shooting

(01:01:12):
for them, and so I totally understand, and I'm one
of those types of people. All of us have to
make a living unless you're rich, which very few of
us are, myself included, So you have to do things
that pay the bills. Well, in doing things that pay
the bills, you have to do things that pay your
pay your soul, that feed your soul. And so that
being said, at least two to three times a month,

(01:01:35):
I try to go out and shoot, and people will
ask me, why are you going out and doing this?
Nobody's paying you to do this. In fact, you're probably
losing money to do this, because, which is true a
lot of the shoots I do, I'm losing money because
I'm just going out to have fun and I'm paying
for Airbnb's and I'm paying for props, and I'm paying
for all this and I do it because what it's
what keeps me wanting to be a photographer. If I

(01:01:56):
can't shoot for myself any longer, I'm not gonna want
to do photography. Not so you know, that's what keeps
me engaged. When I'm shooting a corporate shoot and I'm
bored out of my mind, and you know, I don't
want to do it. I'd rather you know, chop my
fingers off. But I'm doing it, and I'm just telling
myself the entire time, well, you know this is going

(01:02:17):
to pay for you to go to your fund shoots.
So I can't say enough how important it is for
photographers or just creatives in general. Models muses all of
us to go create for ourselves, even if there's no
financial return. You just have to have a balance. Does
that help?

Speaker 8 (01:02:37):
Yeah?

Speaker 9 (01:02:38):
The reason I ask is just that again, I look
at this like list of yours when you do workshop,
and I'm like, he's traveling so much, you know, because
we have time for himself.

Speaker 8 (01:02:49):
As far as just doing projects that he enjoys.

Speaker 1 (01:02:53):
Well, it definitely makes it tougher. I'm not gonna lie,
but I know I've referenced a few of my friends
on here who I know personally, who I've shot with personally.
But you know, even my buddy Paul, you know, we
went down there was a few as we did a
real wedding workshop in Portugal and had a great time.
But I stayed in Portugal for another two or three

(01:03:13):
days and I just was wandering on the beach and
found some curls and asked if they wanted to shoot.
This is all true.

Speaker 17 (01:03:22):
And then the the person who owned the airbnb where
they held the wedding, we did some portraits of them
on the day of the wedding.

Speaker 1 (01:03:35):
This is how I usually do things. And then the
just like because they were wedding guests, they were invited
to come there because they were they knew the people
who rented it for the wedding. And then I said, hey,
you know, we should shoot you guys sometime. That's the
line I said everybody, I should shoot you sometime. And
so I offered to shoot the wife and the husband.
Then they said, hey, we have some friends. Can we

(01:03:55):
bring our friends? And I'll always ask if you have friends,
bring them, and so they brought some friends and so
and I ended up being on the beach with three
girls and a guy. We ended up doing their shoot.
And then during while we were down there, I found
some ladies that were swimming in these tidal pools and
I ended up shooting them. Because you know, model mayhem,

(01:04:16):
that kind of stuff is really hard to connect with
people in foreign countries and so, but there's also a
lot of projects that you guys don't see because like
I'm in New Orleans doing these top secret you know,
shoots that you guys haven't been able to see yet.
What you're insane And that's what really feeds me is
those kinds of things. So keep doing it, because it

(01:04:40):
and you'll learn. You'll learn. Always keep challenging yourself when
you're doing them, Otherwise you'll get bored and you'll burn out.
I notice there's a good amount of chats down here.
I haven't checked the chats for a second. I don't
think Luma's okay, Jason, your honesty is powerful, keyty your following.
You don't follow the beaten path, No, I don't. In fact,

(01:05:00):
I tend to really get I don't know. I get
sick of it. I don't know what everybody else is doing.
I get tired of So I guess one of my
biggest problems is I get bored pretty quickly if I'm
not being motivated and my brain isn't being stimulated. And
so if you want me to just sit there and
like if Son even reached out and said, hey you

(01:05:21):
do or review on the A nine to three K,
how much are gonna pay? Oh it's a non or
just to shoot it? Yeah no thanks.

Speaker 12 (01:05:27):
So Jason, I just want to share this with you.
I was doing a shoot with for a theatrical director
and we were on in a historical village which was
closed for the season because they do that up here
when it gets cold, and we were.

Speaker 8 (01:05:44):
Having so much fun.

Speaker 2 (01:05:44):
The police showed up.

Speaker 1 (01:05:46):
Hey, that's awesome, just like Jason, that's great.

Speaker 8 (01:05:50):
The right thing.

Speaker 1 (01:05:52):
You must be doing the right thing. I'll share a
real I don't know if I shared this with you, guys,
but but if I did, I apologize. But I was
inside a six Flags shooting. Now this time, I wasn't
going to be arrested. I actually had permission to be there.
And we're shooting at night now around six Flags. It's
so cool, guys, because now I don't now I just

(01:06:12):
drive around the park. I literally take like my rental
car and I drive around the park. It's just like
so surreal compared to what I used to have to do.
It's incredible. Anyway, you have to be careful when you
drive because they have conduit and cable lines that run
underneath the concrete of the little city as it is,
because that's the way they, you know, get all the
power and water and everything going well. They have hatches

(01:06:34):
that open up that enable you know, workers to be
able to service them from time to time or whatever
it may be. Well, because it's been abandoned for so long,
a lot of these hatches are missing or broken, and
so you have to during the daytime, you're driving around
and you know everything looks great and you're you're not
going to run into them. Well, I was shooting and
I had a girl there and a burlesque outfit and

(01:06:55):
a guy on fifteen By the time he had the
stilts on, he was fifteen feet tall, and we I
lit up. I crawled on top of this building completely
lit it. When you see this shoot, it's wild. I
crawled on top of this building, very dangerous and went
behind it and and lit this whole building. It was
pitch black, and the security care and so I got down.

(01:07:18):
I was doing the shoot. The security guard comes around
the corner. He sees a girl there in a burlesque outfit,
and he sees a fifteen foot tall guy. He freaks
out and he crashes his car into one of these
one of these patches, and we have it all on video.
It's hilarious. So yeah, and if the cops aren't coming,

(01:07:38):
you aren't you aren't doing something right.

Speaker 2 (01:07:40):
Yeah, well, we had all the right paperwork. We were
supposed to be there.

Speaker 12 (01:07:44):
It's just that unfortunately the owners of the park forgot
to tell their security company, who had cameras on it
all the time, that we were going to be there,
and that's basically where they where the glitch came from. Yeah,
as soon as the cops showed up, I went, hey,
this is just like, why didn't you.

Speaker 1 (01:08:00):
Isn't Yeah, I really don't have the cops come a lot.
I just try to. I'm always respectful and nice to
them and just let the rest forward me. Yeah, what else, Jace, Hey, Ian,
what's up my man?

Speaker 18 (01:08:18):
Just to let you know, get feedback the shoots I
did that. We can put a picture upon your workshop.

Speaker 1 (01:08:28):
Facebook page facebook page, which you seem to like.

Speaker 18 (01:08:33):
The lady that the picture has taken, Alf who ran
the gig, turned around to me today and said that
the pictures were game changes.

Speaker 2 (01:08:43):
She loved them so much.

Speaker 1 (01:08:46):
That's wonderful, smoked smoking in Jack.

Speaker 2 (01:08:49):
It's stunning piece of kit. You're three blasted light backdrop.
Blow them all the way.

Speaker 1 (01:08:57):
Well, I'm proud of you, brother, go get it.

Speaker 2 (01:09:00):
Thank you.

Speaker 8 (01:09:01):
I am as well.

Speaker 1 (01:09:01):
Book all right, what do you what do you call
me mucker?

Speaker 19 (01:09:06):
Yeah, it's a It's an old Indian word which the
British Army brought back from India, and being an ex
British soldier serviceman.

Speaker 2 (01:09:20):
It's part of military slang. You call a friend.

Speaker 1 (01:09:25):
So does it mean like dude or something?

Speaker 18 (01:09:27):
Yeah, similar if you were, if you're in the British military,
you refer to it.

Speaker 1 (01:09:34):
That's awesome.

Speaker 2 (01:09:37):
You trust I'll leave you.

Speaker 1 (01:09:40):
Well, thanks for being my mucker. I got a question.
Do I sell prints of my work? I do? I
do sell prints of meet my landscape kind of work.
I always I get questions if I sell any of
the other prints, and at some point I will, But
as of right now, you know I updated a couple

(01:10:02):
years ago. I've been updated in my landscapes recently, but
meaning what I would have available sell, But yes, I do.
One other questions my friends, I.

Speaker 9 (01:10:12):
Have another question, Jason, so yes, in regard to events,
I also host my own events.

Speaker 8 (01:10:19):
They're not really like photo meetups.

Speaker 2 (01:10:21):
They're more like.

Speaker 9 (01:10:23):
Shootouts or competitions or challenge based events. I don't like
to do these events in public because again I'm I
struggle with the idea that we might get shut down. Now,
in the case that your event, let's say you're at
a beach, right and the cops come kick you guys

(01:10:44):
all out. But you guys set up this event, how
do you how do you handle that? Where do you
move to?

Speaker 1 (01:10:50):
Or you keep yourself mobile and you and you don't
promise anything in your upfront with your group ahead of time.
So if you me or anybody else doesn't want to
go through the process of getting permits and the expense
of getting permits, sometimes the expensive getting to permit makes
doing the event, you know, unfeasible. So I think you

(01:11:12):
just have to be honest with your group, like any like,
Like Larry was just saying, I mean, now, if one
of my groups, if there's a fight, or if not
a fistfight, but if there's you know, if there's some point,
if there's something cops or somebody gets angry at one
of my things, people are like, yeah, I just had
a Jasent Linner experience. So even at my Venice Beach
workshop that I just did, we were walking on an

(01:11:34):
alley behind where the beach is and Venice Beach is
a crazy place, and I set up the light, I
set up the light on in just like a parking area,
and this guy came and accused us, accused us of
entering the area and opening up the gate, which we
didn't do. And this guy wanted to beat my brains

(01:11:55):
in and he kept screaming at me and blah blah blah,
and I said, hey, we can move, but you need
to be respectful, you need to be nice. Nobody did
anything illegal, nobody's in the wrong. And he was actually
really surprised that I wasn't, you know, cowering in front
of him. He was trying to make he was just
trying to terrify me, and I just wasn't having it.
So if you're gonna hit me up, just go to jail.

(01:12:16):
So I'm not I'm not gonna too worried about it.
So but after we walked away, so so we we
the group, even the group was telling the guy he
just cool it, dude, and the guy. The guy was
just he had had too much to drink. So we
ended up looking at each other as well, let's go
over here, and we just went over there and everyone
laughed like, yeah, yeah, I had a Jason. I watched

(01:12:37):
Jason give it to a guy just like this is hilarious.
So I think it just really boils down to being
very upfront with you know what you're what type of
an experience you're going to provide. Like even any of
these things that I do in Cuba or Ecuador or anywhere,
people know, like if we go with Jason, he'll figure

(01:12:59):
it out. It's never going to be everything that we
thought it was, but it'll be something. There'll definitely be
stuff that we thought we weren't going to get that
we do get. So I think that's just what it is.
It's just proper expectations. Like with me, if you go
on one of my things, it's going to be an adventure.
You know. Trudy came with me to Portugal. She shows
I pick her up. We go down from the airport
and Lisbon all the way down to the Algarve, which

(01:13:21):
is like three hours away, and by the time we
get down there her airbnb, her Airbnb was nowhere to
be found. So Paul was in the car with me too,
and no Robert was in the car with me, and
so we had to find her in Airbnb. But see,
that's the part of me that that's also part of
my experience, is that I have to accept that that's

(01:13:43):
part of my responsibility as well. So I think that's
what it boils down to. Hi, Jason, with Luminarnia, is
there a paid extension which you would recommend over and
above the precess extensions that come with the subscription? There
seems to be a large number of presets you can purchase.
I haven't purchased any, so I don't know. Luminari I
asked me if I wanted to provide presets for them,

(01:14:04):
and again, I'm just tired of making other people money,
so I don't know. I don't have any to recommend,
would be the fastest answer, simply because I haven't used
any of the other ones. All right, my friends, Well,
thank you for joining me today. I really do appreciate it.
I appreciate all of you being here. These are obviously
fun for me to do. I appreciate you guys sticking
around and ladies sticking around for another two hours or
another hour to do some of this, which will be

(01:14:27):
on my podcast. It's gonna be a lot of fun.
So if you want to listen to this session again
end us having fun, you can go there to do so.
That's Jase Leonard dot com Slash podcast, Sandy says, come
up to beautiful northern California. We have redwoods. I know.
I love mere woods. I love the redwoods. I love
that whole area, just I love this whole world. There's

(01:14:47):
something beautiful to find everywhere. As long as you keep
trying and you keep open mind and it'd be nice
to people, things can really turn out differently for you,
for all of us. So till next time, keep shooting,
never give up on your dream. Finely together works for
you to remember, and we have one chance kid, all right.
I love you guys, and I'll talk to you later. Peace,
my guys.

Speaker 2 (01:15:11):
M Blow strings. Gold leaves have a legal rains