Here you go. Rock and roll, rock and roll. Good morning, good afternoon. Good evening.
You're listening to the AutoCAD podcast. I just went by putting around and said, today we've been all the stuff. I know Ross is on the list again. Ross is a voice-out.
We're a special guest today. We're going to talk about Storm in the air. Oh, thank you. I am really good.
Yeah. So we were in the lead just before we took photos of the Mesorades. It's getting for sale. Because the other night we're selling his car.
I like selling things. If you leave anything lying around or in one of our place, it starts to get started. But we do things properly. And generally what happens is you come back for about six months and a year later in foreign.
Because the good thing is while they decide which one is selling. Yeah. I don't remember that. You probably don't remember that one.
You did tell me. He's a manager. You got that much anyway. Yeah, yeah.
Always happy. So we don't go for house. We get professionals to take photos. So if we're in the only way, what do you think?
The Mesorade? It's very good. It's very nice. I like the color of the car.
It's the black. This is my second time to take a photo of Mesorade. Yeah. That's it.
So my people selling the market. I'll shoot. Do not post the other photos. I'll do the same.
So colors. It's important. I thought black was hard to photograph. Most cars are shiny.
That's why you have to avoid the reflection from the lights or other shiny objects. So you have to somehow make sure that the bounce of the light doesn't affect the color of the car. And the metallic paint. Yeah.
And so you have to use the flash of the camera. Reflection also. You're running around. Yes.
You took a photo of the camera. You took a photo of the camera. You took a photo of the camera. You took a photo of the camera.
You took a photo of the camera. You put it a time away. And it's a steady object. So you have to work.
It's not much time you've got to make it smaller and bigger. The car is just there. It's not going to move. Yeah.
But I think you need to find the right angle to project the right, the strength of each car. Like for example, we did the pilot angle of the car to emphasize the mug wheels. Yes. And also the side of the car.
The door. Yeah. So some cars you photograph differently. So a van is different to say the best rally.
Yes. Yes. Yeah. Like for example, I photographed a different fire.
Before. So we did inside of the pictures of the car. We did different as against here. We need to emphasize the logo by itself and you can see by itself.
You don't have to show other things. Yeah. Yeah. If you just did a whole new logo that worked.
You saw it in the camera. No. Well, it is all right. But it made a real estate agent.
It was very, very marketing. Yeah. And it's not about how much you spend. It's how you spend it.
Yeah. Okay. So these guys, if you've got the latest iPhone or the latest Samsung. And we took a couple of photos down the stairs.
All right. They would probably be more than enough for something to think we can't. Yeah. So even for me to get this car advertised.
It's the thing that you want. Well, in fact, when people look at it, we're focused on the key points. Right. We didn't put 40 photos up there.
Sometimes you go online and the deal is it took 40 photos. You get the photo number six. So it's like, let me find those. It's the same photo.
Same order. From black side. Yeah. Right.
Six front shots. Six side shots. Six of these. Like we don't need that.
We're just in the band band band band. Seven-eight shots. That's what we're going to do with real estate. Five to seven shots.
Right. And get that interest. So they want to kind of look at the rest of it. And then we hit photograph the engine.
Was that happy because the symmetry is not perfect. So how did it again? Yeah. Yeah.
Not to mention the half the engine was carefully plastic. So we had to. Let me give you one photo of a car. One photo that's like, is it a coffee bottle?
Or that coffee bottle? Like I want a car. Yeah. The store should have vacuum metal.
What are some don'ts? What mistakes do you sleep with when you look at an ad for a car, for example? What should you do? What should you do?
I think one is when you're taking photos of the car, make sure, again, that it's a symmetry. Yeah. The other one is the photograph. Just like, for example, the trademark of the five.
Because sometimes the trademark speaks by itself. You don't have to say a lot to show other things. It speaks for itself. Yeah.
Sometimes also you need to do some blurry objects but emphasize the warnings. If not, we're looking at what words that have been demonstrated. They have a social name. And say straight out.
Yeah. So we emphasize that. But we also put that in context. We photograph that logo.
And also the dashboard. Yeah. Because if you look at it, it's a focus. And that's the picture of the car.
We said earlier. It's as una careful as in the country. And that is a focus. Yeah.
So is there not any other things that when you take photos of a car, should you do? Like, is daylight, night time? I mean, obviously it's a difference. It depends on what emotions that you want to create.
Like, for example, we did a Photoshop car like Sunset. Because we want to show a different mood. And one time we shot it in a date time. Because we want to make sure everything is bright and lighty.
So it depends on the mood that you want to communicate with your marketing or company. Yeah. So if I had you to take a photo of my car because I love my car not selling it, the top of it would take you different to the full self. Yes.
Yes. Yes. Yes. Even if we can have an actual part of it, like, you know, you're driving in the man.
So if you're setting up one of the drives, it's better to show that action movement. But yeah. Well, and we're also, if you're going on a full drive top scenario, if you've been involved in any moving photo, do you got to be in race tracks or what's the other time? I haven't done race track.
I haven't done that except other boxing. Yeah. I think we're going to summon it. Yeah.
And one of the cars, what other photography do you do? I do events. Yeah. I do a lot of, like, pretending bread days.
Yeah. I do a lot of various aspects. Yeah. About 90%.
Yeah. Yeah. I do sports. Sometimes I shoot NIL because one of the sponsors sometimes has to do the other end.
Yeah. And then again, with your equipment, the certain lenses you need for movement, the certain for things that are static. Yeah. If you notice, I changed different lenses for different.
When we were shooting them, I said I use 85, I use the white angle lens. Just the different photos of different pictures of the art. Super camera nodes out there. What could be used as well as well as others as well?
What would be good? I just use a white angle lens and also I use a fixed lens. 85 millimeter and an antibody tube. And I noticed the flushes lock it down.
Yeah. Just using the light. Yeah. So it's not too much bright.
So I just want enough light to showcase the art. And then you use the slow. And I noticed a lot of slush on the street. Yeah.
I think I want to do something about the layer. Some of those each. Okay. Yeah.
So with the slush on the street, you can pull it past those images and light it up like a depth. Or. Okay. Which you can't do it like that.
Yeah. Because I thought you can do it like sports. But we have this camera. You can do multiple exposures.
That's right. And you can blend it together. So the art has not taken over the world when it comes to camera. Almost.
Yeah. Yeah. Same camera. Same camera.
I mean, motherphone. Yeah. So they have come along. Yeah.
If you want that. The special fix. You still, I mean, I'll say a lot of professional cameras on there. So they have a whole some to set cameras.
I mean, because different things, different tools. Yeah. So you know, I used different lens. Yes.
For me, the company and the less are tools that we use for it. So we have to use different tools for different. Need of photography. Yeah.
Yeah. It's amazing. I was saying that I got attachments for iPhones in that on the back. Yeah.
Yeah. A little. Yeah. You could screw on.
You can be a Sydney professional, Sydney professional. Still not the same, but. It's not the whole story. The whole story.
Yeah. The whole story. The car. I know you're not like a radio.
But you're coming to a better focaccio. It's not trying to take photos for the broadcast to see what things are there. Sometimes you've got to really get down low. You can stand up.
It's not moving, but you can make it look alive. The lower you get, the more menacing it looks, you can really work with it. It's just like it when you're shooting a young child, you don't shoot low. Up, up.
Yeah, going for the talk. Yeah. Yeah. Earlier I went down just to get a good, just to showcase the side of the car, I happened a lot go lower and better showcase.
Because the wheels as well, it all works. And that's important, when you're looking at an image on a screen, when it's too hard, you miss a lot of the car, you miss a lot of it. And the tripod, I was really doing the selection on the screen. You can't hold the camera, you can't do it like a slight shot.
And I think that is, I put in a two second timer, first when you press the shutter, the lens move, so the two seconds give my camera stability. So even pushing the bottom, you are pressing down the camera. Yeah, that's pressure. So you delay, you set a two second timer, you notice that?
I don't know, so I'm going to be sitting there running around now. But the second, so even when you press up a slight shot, it's a bit of good tip, is having two seconds to delay, then the camera is steady on the camera. Yes, yes, yes. So I didn't notice you'd move away and let the camera do a little bit.
The difference, sorry, but at the second, you notice, yes, gives me a steady, in my lens movement and lock a sniper, do you hold your breath? Yes. You do, yes. Yeah, you do.
Yeah, if you notice I need to use my tripod inside the car. Yeah, I have to hold my breath and just tap in my elbow. OK, so you can learn that from the arm. You learn that.
That's amazing. Well, look, I know you're up your press for time and then you've got another shoot to go. Look, thank you very much. You're a bloody business.
We're going to put it on our Instagram as well. But how do we find it if we want to need you to photograph our cars or even houses? If there's real estate agents there, they're listening? OK.
This is a bloody business. I've got to be asset photographers. Yeah. And we do real estate photography.
And I do have my own, which I do events. And sometimes we do like cars photography. Yeah. So we'll put those details up on our Instagram and on the podcast.
And I know it's an advice to use you. By the way, I thought you would recommend Boy, look, photos are amazing. He takes the effort. And we had to, how was the manager?
He hasn't moved the car in and out, up, down. So you were a big director by the photographer to move the model around. That's me. That's my own beginning.
Yeah. And we'll put the photos up on now. Yeah. As soon as we get them, put it up on Instagram.
And we'll put something behind the scenes phone. So you can see Boy, in the work, how he sort of moves around the camera is set up. I did. No, no.
Yeah. That's the last thing behind it. With the trusty icon. But he does the call when he controls you.
But in front of the breath. I think he's going to hit the front of the breath. So thank you for coming on. I'll have your person's home.
And we'll put some of that up there. And so I'll follow us again on YouTube. All right. That was a short one.
But a short one. Done. And thank you. And thank you.
And selling them as a ride. And selling them as a ride. So email us at alltalk. And double up to the RQE and outlook.com.au with your, that's as your credit card.
Just send us your details. We'll contact you if you're on the as a ride. And then we'll get the credit card details off you. And we're happy to live in the car even to the border of Victoria.
Yeah. They're running and run. So thank you very much. Thanks, Hal.
Thanks, Brian. And you are my for now. Thank you. Bye bye.