Emily Endean: 0:00

I think it's really important to give yourself something to work towards rather than just shooting anything. Sometimes I like to have the vision of how I can turn something into a project and make something more than a picture making it more of an all rounded story of something. And I just really love doing that.

Angela Nicholson: 0:25

Welcome to the SheClicks Women in Photography Podcast. I'm Angela Nicholson, and I'm the founder of SheClicks which is a community for female photographers. In these podcasts, I talk with women in the photographic industry to hear about their experiences, what drives them, and how they got to where they are now. Our guest today is Emily Endean, a freelance outdoor photographer from the UK, who is addicted to chasing great light, seeking the beauty in the ordinary and just generally being out in nature. Emily uses her skills across multiple genres conveying stories evoking emotions, and preserving moments in time, using her creativity to produce captivating and meaningful images for personal work, and big name clients. Hi, Emily, thank you so much for joining me stay on the SheClicks Women in Photography Podcast.

Emily Endean: 1:09

Hello, Angela. Yeah, thanks for having me on.

Angela Nicholson: 1:12

Now, you're joining us today from your van. Where are you actually based at the moment?

Emily Endean: 1:17

Yes, so at the moment, I'm based in Bournemouth, so we're parked right by the sea. So Bournemouth will always be home to me. So it's really nice. Coming back here in between things and seeing friends and family. Yeah. And we know, we know the best park-ups by the beach as well. So that's good.

Angela Nicholson: 1:33

Perfect. Oh, well, it's lovely to be there, I guess.

Emily Endean: 1:36

Yeah.

Angela Nicholson: 1:37

So I know that you started out with a different career, you had a career change towards photography. But what was it that made you think about switching your job?

Emily Endean: 1:46

Yeah, it was a really, really slow process. For me, it wasn't a case of just suddenly being like, I'm going to be a photographer. It was just, it seemed to be a process of about probably 10 years, to be honest with you, because I just loved photography. And it was something I would just do every single day and, and it kind of went from me not particularly loving my job to be like, I'd have to go out and do photography every day. Because I needed that feelgood factor I needed to see a sunrise or I need to spend the evening down at the beach just to kind of wash away the day, so to speak. And, and it was just that hobby growing and growing and growing and little bits happening here and there. And then going part time in my insurance broking job to eventually taking the plunge and quitting that altogether. So I think the process was such a long one for me, it happened really, really organically over a long period of time.

Angela Nicholson: 2:41

Was there anything in particular that triggered you to think, actually, you know what, this could be my career?

Emily Endean: 2:48

Yeah, it was, it was a really strange process, because I would have always loved to have a career in photography. But I never really saw it being a reality for me. And I think it was partly a perhaps a confidence issue. Imposter Syndrome always creeps in and you look at other people's work, and you think, wow, they're incredible, I can see why they have this as a career. And I never really saw that about my own work. And I think that was kind of always in the back of my mind. So I think when you love something, you do it regardless. And because I absolutely love photography, I love getting up sunrise of seeing the sunset, love being by the ocean, because of all those things were such passions of mine, it was really easy just to keep doing it every day regardless. And it was only I kind of I went part time in my insurance job, because the odd little thing here and there kind of picked up. And I think it was actually doing the little things here and there starting to make a little bit of money from photography. It was then that I thought maybe maybe I could do this. So it was a real confidence thing of just thinking was good enough. And that haunted me for a long time to be honest.

Angela Nicholson: 4:01

Yeah, we hear that quite a lot. I think there's a lot of people who suffer from that impostor syndrome. But like you say, just getting those little bits of income really kind of shows up your confidence a little bit, doesn't it and helps you take those next steps.

Emily Endean: 4:14

Yeah, Yeah, definitely. In the beginning, I was complete traditionalist landscape photographer, because I was just heading out down the beach every single morning or evening, I was photographing the ocean at sunrise or sunset in a very traditional way, just being on my tripod playing with shutter speeds and things like that. So at that point, it was more just selling the odd person or I can remember somebody asked me to shoot a wedding. And I was like, no, just because I'm good at landscapes doesn't mean I'm gonna be good at weddings. But this person was a friend of my mom. And she said, Just come and do it. If you get some good pictures, I'll be happy. So that was really low expectations. And I remember doing it and she paid me I think 250 quid or something. And I thought, Wow, maybe I can do this. It was totally different to shooting landscapes, but I honest believe, I have such a love of photography in general, there's not a lot of things that I don't enjoy shooting. And I remember doing that that wedding and getting, you know, a small fee for it, or being like, yeah, maybe maybe I could? And it takes other people having confidence in you, I think to build your own confidence.

Angela Nicholson: 5:19

Yeah, I think it does. But did you ever sit down and map out your career and have a plan of what you're going to do what your type of photography was going to involve?

Emily Endean: 5:28

No, and I never had a plan at all. So I mean, I've talked a touch on weddings, but I have to be honest, I don't really shoot weddings. So I haven't got any weddings this year. That's not really my thing. It was just one kind of real in the cargo of how I got moving. But I think it was really a realization of how I just loved being outside and whether whether that was shooting landscapes, or whether that was getting in the sea and shooting the ocean, or the people in it. So the surface, things like that, I really, really noticed how I was drawn to certain things and how my passion for photography and those elements really came through. So I never really kind of sat back and thought, I'm going to do this type of photography, and I'm going to try and get paid for it. It was just doing the things in the environments that I loved, that actually kind of led organically from one thing to another. And I ended up doing a few kind of commercial, like lifestyle branded kind of shoots out in those environments. Because I realized at a point where you know, people are shooting products in studio, and that that wasn't for me at all. But being able to shoot products out in those environments that I loved, those things slowly started happening. And I think it was like in 2020, that was a weird year for everyone. And it was a bit of a pivotal moment for me, because I kind of reached out to a few brands on Instagram just to try and get some products that I could shoot. And at that point, I didn't really have much of a portfolio. So very controversially, I did a few things kind of for free. And it was really just to get me going. And I think there's no right or wrong. And I don't think you should give necessarily give your work away for free at all. But for me, it was just to build a portfolio in that at that point. You know, I had another job, I had a steady income. So it's not like I was relying on money from it. But I really, really needed to build a portfolio because I thought I just want to be in these environments. All day, whether it's photographing, summarize, whether it's shooting for a brand, and photographing their products out in your lifestyle environment, or even taking people out and teaching them how to use their camera and get out of auto and, and how to see the scene as I see it and how I'd photograph it sharing that knowledge and sharing that passion. All of those things evolved from me just realizing I just wanted to be out in that environment all the time.

Angela Nicholson: 7:48

Yeah, it sounds like Instagram's been quite important to you and to your career. Because that's how you reached out to your first clients. Would that be true?

Emily Endean: 7:55

Yeah, definitely. I think Instagram is a great marketing tool. And it's a free one. So, you know, it has its pros and cons, doesn't it? Have all social media, but I think you can definitely use those kinds of tools to your advantage these days? Yeah. Do you still work for any of those first clients that you had? Yeah, the amazing thing is the people that I kind of emailed at that point, and, you know, reached out on Instagram and got something in exchange for a handful of photos by return. And it was really easy to do, there was no no pressure from it. Now I've got a series of clients that that come back to me. So from that from providing something really small scale, low budget free. And I've had clients come back to me off the back of that, that are regular clients now. And also people who understand, okay, she was doing it early on, because she needed a portfolio. But now kind of asking me what is your day, right. And I think that's a really, really incredible place to be that they saw the value in what I provided, and then in turn, come back to me now. So I'd say there's probably out off the back of that that time period in my life, there's probably three regular clients that I've got that I do something for most once, or at least once a season. So it's really worked for me taking that approach. And I'm glad I did it. Because now that that's kind of given me a bit of a boost into having contacts with those clients, but also having a portfolio to back me up as well. So go to new clients.

Angela Nicholson: 9:25

Fantastic. And it like you say it's good that they've recognized that you've grown. Would you say that your style has evolved over the years as well?

Emily Endean: 9:34

Oh, yeah. 100% 100% I look back at photos now from a few years ago, and I just think, why did I do that? Or why have I edited it that way? But the fun thing is I I'm an I'm a file hoarder, I always hold on to all your raw files because every now and then I might. If I've got a free day or something I might dip back into an old hard drive and and see what I was photographing and then I pick a handful that I can try and re edit and just see whether I can make any improvements on that side of things. And it's really interesting during that, so I think it's always worth holding on to old RAW files and just seeing how you've evolved and changed over the years.

Angela Nicholson: 10:14

Yeah, definitely and also, you know, because tastes and styles change, then you might want to rework the file with different processing. And also, you know, with the AI selection that you can use now, it just makes life so much easier if you just need to brighten a specific aspect of the image or something like that. It's just a lot easier to do.

Emily Endean: 10:31

Yeah, there's a lot of tools that yeah, weren't available. When I was first shooting these pictures or editing these pictures, there's so much more that you can do now that it just makes it so much easier.

Angela Nicholson: 10:43

Now, you were a Fujifilm ambassador, or X Photographer as they're called for a couple of years. What was that like?

Emily Endean: 10:49

Yeah, that was really cool. Actually, that was one of those moments of, Wow, they're, they actually want me to do this. Again, like the imposter syndrome creeps in. And, and I guess it's, it's that confidence thing, again, of just thinking, Well, why me. And at that point, it was really exciting because I was due to be leaving my job. And, and to be honest, it was that, again, was really organic. So I'd already had a conversation a year before this even happened, of what how we could work together. And I was already doing the odd thing here. And there. I did a talk for them when the photography show was purely online during COVID. And I did like a half hour slot for them. And that was amazing. That was my first kind of taste at that kind of thing. But being purely online, I think it gave me the opportunity to hide behind the screen and not worry too much about presenting to people. So I think that that was a really good time for stepping into that arena. It took that pressure away of the anxiety of actually talking to people. And also I worked with them on a campaign for a new landscape lens that was coming out when the 10 to 20 was coming out, god, I can't remember when that was, maybe 2019, we did a little feature where I say little feature, they actually sent like a videographer to come follow me around for the day. And we got to shoot me shooting the landscape and all set. And that was incredible. So those were the first kind of things in the relationship with them. And then it really organically led on to being asked to be an ambassador and and kind of represent them and work with them really closely. So yeah, it was a really, really exciting time.

Angela Nicholson: 12:31

Did it have a significant impact on your career? Would you say?

Emily Endean: 12:34

I think it did. Yeah, I think it made me feel like maybe I am worthy. Maybe I am doing a good job. Rather than being hard on myself all the time, or looking at other people online thinking they were so much better than me or? I don't know. It. Yeah, I think it gave me a confidence boost, basically, to think that I was worth that. And I could do that.

Angela Nicholson: 13:00

It's that validation, sn't it that we're all looking for really?

Emily Endean: 13:02

Yeah, definitely. Yeah, I think that's a big thing as well, because I still look at opportunities now. And one of my friends had something the other day like something came in and it was an opportunity to do something I can't remember. But I still get really excited. And I still, I'm still like, oh, I can't believe it. They came across me and one of my friends was like, why are you still surprised? I was like, why? Of course I am. But I don't know you other people see these things and you don't pay? And of course my friends and family think I'm amazing. That's what that's what people that love you do?

Angela Nicholson: 13:36

Yes.

Emily Endean: 13:37

But yeah, I still get really, really excited and really surprised when amazing things come to me or when I've messaged someone, and something great comes back from it. Yeah, I get really still really, really excited.

Angela Nicholson: 13:51

Well speaking of contacting people and amazing things coming. You still make time for personal projects, like the recent one with the guy who shapes the surfboards. What do you get from projects like that?

Emily Endean: 14:03

Yeah, I think if you're working in photography, it is sometimes you might have to be just shooting for a client or doing something that you don't necessarily not not want to be doing. But where it's not for you. It's for someone else. So I think it's really important to have personal projects on the go as well because you can follow something you're really passionate about. And And as I've been shooting the surf over the last couple of years, I thought it was really interesting how the surfer sees their surfboard, kind of similar to how a photographer sees their camera. It's got to be the tool that works right for them. And it's all personal preference, isn't it and what feels good for you. So I kind of saw that process being mirrored by by the surfers and I kind of connected with a surfer in Cornwall who saved shapes his own boards. And I said to him, Would you be up for a little project just over a couple of weeks, where we photograph from shaping the boat or to surfing. And I kind of tied it in with the launch of the Fujifilm X100 VI. Because I thought to push myself even further, it'd be really fun to do it with a single camera, single lens, and not have the flexibility of going for zoom lenses, I think it's really important to give yourself something to work towards rather than just shooting anything. Sometimes I like to have a vision of how I can turn something into a project and make something more than a picture making it more of an all rounded story of something. And I just really love doing that.

Angela Nicholson: 15:36

Yeah, well it looked like a great series. What you said there about using the X100 VI, which has got a prime lens on it, so it's not not a zoom lens. And just sticking with that one camera that one viewpoint. Some people might see that as limiting. But I would see that as quite liberating, because suddenly you're throwing out a load of decisions that you don't have to make. You know, you don't have to zoom, you don't have to switch lens, because you've decided you're shooting it with this camera, this lens.

Emily Endean: 16:01

Yeah, there was a lot of positives and some negatives as well. But that's the point of a challenge is to try and work with something to the best the best you can. And it was incredible for shooting look under the documentary stuff getting up close, when he's shaping the board, just the angles, I could get how close I could get. And I don't know the atmosphere in the room, the dust coming off, reshaping the borders, all those kinds of things were amazing. And also portraits at the shoreline. They were incredible. And then when it came to shooting the surf, I just couldn't get close enough. I just couldn't get the beach. And for for a moment, I was just really annoyed. And then I kind of had a word had a word with myself and thought, you know, this is part of the challenge. Let me make this work. Actually, it's probably more about the lifestyle in the wider view than trying to get up close getting someone doing you know, tricks in the air is like coming off the board that just was never going to happen. But yeah, so I think it kind of pushes you to think outside the box whereas you know I could easily go to the shoreline put my zoom lens on and and photograph someone surfing, there's no challenge in that, really. So by pushing myself and doing something like that, it does really challenge me. And I think that's that's really important.

Angela Nicholson: 17:16

Is that something you will take into your commercial work in the future?

Emily Endean: 17:20

As in shooting kind of one camera, one lens?

Angela Nicholson: 17:23

Possibly, or maybe things that you learnt during that process tjat you'll take into your commercial work?

Emily Endean: 17:28

Yeah, yeah, no, that's really good point. Because I think from especially from shooting, the perspectives I did in the studio while he was doing the shaping, I think there was a lot of that documentary process. And the way I shot that, I think, yeah, I would definitely take that forward and try and use that in, in commercial work in future, but also just the kind of documentary approach as well. You know, I've gone from this traditional landscape photographer to this evolving into something else over time. So I think every tiny step you take to try something new, always changes the shape of how you are as a photographer. And I think that will always happen because I'm always looking to do something maybe in a slightly different way, or maybe a unique way of how I see things. So yeah, I think that's that's kind of happening all the time. So yeah, definitely. I think that's, that's pushed me in a slightly different direction sometimes.

Angela Nicholson: 18:24

Speaking of different directions a couple of years ago, you decided to move into your home or campervan, permanently. How's that going? And how has that changed your business?

Emily Endean: 18:33

Yeah, this is, um, it's an exciting topic, because it did change everything. For me, I think it was taking the plunge of leaving my job and leaving the house right, right about the same time, which some people probably thought were a bit crazy. But in my mind, it was probably at the peak of everything I was doing with Fujifilm, I was traveling around the country doing different talks in different places for them. I got to pursue personal projects, wherever I could go in the country. So there was lots of things happening all at once, whether that was work or whether that was personal. And by being in the campervan or been able to go off and stay different places. Rather than having to be a trip from one you living in one place and UK and you have to go back and forth. I could just be wherever I wanted to be. And that made sense to me. And I think at that point as well. It was so easy to be able to say yes to things. One example is I was shooting a wedding in Essex. So we'd gone all the way to Essex. And then the groom was like a director of a video production company and he said, Oh, there's this group of women rowing an ocean. They're looking for a photographer next week, and they're actually having a practice session in Essex. Can you do it? I was like, Yes, I can. So I think that it opened up so many opportunities like that one where I had more option to say yes, because I'm in quite a unique position where I can pursue The things that I want to be doing, which is an amazing place to be.

Angela Nicholson: 20:04

I imagine that it helps you feel a little bit more present, as in, you're never sort of at a place thinking, I've got to leave at this time because I need to get back for X Y, Z, and then we got to do this, this and this, you because you can actually stay there? Does it help with that? Do you feel more sort of like in the moment?

Emily Endean: 20:21

Yeah, I think it does, it does make you feel that way. Because you can, you can travel and truly connect with a place and enjoy a place for for longer, perhaps I can, I can go somewhere with work. But actually, you know, I might not have visited that part of the country before. So this is a good opportunity to spend some time there. And, for example, the last month, I've spent a lot of time in Wales. And that's kind of come about because I had two or three jobs around Wales. But actually, it's meant that I could spend the majority of the month traveling from different places, they're getting to enjoy new locations that hadn't been before. And getting to see at a different time. So being able to be a play the summer and not have to rush off and actually stay for sunset or or you know, just to start as an example. Just being able to spend spend more time kind of makes you more present and not have to rush off go to go home as such, because your home's there.

Angela Nicholson: 21:18

Yeah, sounds great. And of course, you've got all your creature comforts with you.

Emily Endean: 21:21

Yeah, exactly. So, you know, there was a big process of leaving the house having to get rid of a lot of what we owned, but it makes you hold on to the things that are really important to you, and the things that are really special to you. So you get to travel around and have all of those important things with you all the time, which is great.

Angela Nicholson: 21:37

Lovely. Well, I think it's a really good time to go to Six from She Clicks. I've got 10 questions from SheClickers. And I'd like you to answer six of them, please by picking numbers from one to 10. So can I have your first number please?

Emily Endean: 21:51

Okay. I'll go number two.

Angela Nicholson: 21:53

Okay. This is from Yvonne. She says, What's in your camera bag for a typical outdoor shoot?

Emily Endean: 21:59

Good question. So I've obviously got my Fujifilm X-T5. And the main lens I've got on there at the moment is the 30mm macro, which is interesting, because you don't have to use that just a macro. So I use that a lot in the sea out in the landscape, and also portraits and commercial work. So it's really good around lens. I've also got my 16 to 80, which also provides a good field of perspective. Of course, you've got spare batteries, memory cards, cloths, because I'm always getting sea spray on the lens. I've got my three legged thing tripod attached to my bag and L bracket.

Angela Nicholson: 22:39

Oh, yes.

Emily Endean: 22:40

And yeah, normally have a selection of filters in my bag as well. So I think that's about it really.

Angela Nicholson: 22:46

I was just going to ask you whether you use many filters.

Emily Endean: 22:48

Yeah, so I've got quite a range, actually. So I've done some work with Kase filters. So I've got a set of the magnetic filters that just just pop on the end of your lens, which are, they're really, really handy. But I also do some work with a company called Tide Optics. And it's quite interesting because they are, they're probably on the cheaper end of the scale for filters, but actually really, really good. And they've got some quite creative filters like cine soft filters that give you quite a kind of cinematic soft approach to a shot and depending on the light that can work really well. So yeah, I've kind of got an all round range of filters, to be honest kind of catering from the cheaper end of the scale to the more expensive end.

Angela Nicholson: 23:34

Do you use graduated filters at all?

Emily Endean: 23:36

Yeah, I think this is probably where my photography has changed over the years because I used to use graduated filters a lot to balance the sky in the land. But I have to say I don't use them anymore. And I don't know if that's because cameras have just become so much better. And they've got such a good dynamic range, that the detail is always there. So if I'm shooting raw, and I'm exposing for the bright parts exposed and for the sky, you can always bring up the shadows on the land, or in Lightroom it's really easy to apply that graduated filter. When you're editing, I find that I don't need those drop in graduated filters anymore. So I guess that's where my landscape photography has changed in that respect.

Angela Nicholson: 24:17

Okay, so could I have another number please?

Emily Endean: 24:20

Yeah, okay. Should we go number five?

Angela Nicholson: 24:23

Number five, okay, with your lifestyle or brand photography. What do you do if the weather doesn't play ball on the day? That questions from Liz.

Emily Endean: 24:30

Yeah, that's a good question. His that can be really difficult actually. So if the weather's absolutely awful, and it's really not going to work, then you just have to try and rearrange it for another time, which is very difficult when you're traveling place to place and you might have a location in mind to try and make that work but I do have a lot of flexibility with the way that I live. But that means that sometimes I can think well, I'll hold out till tomorrow see if it's any better than Yeah, that can be really, really difficult. Or sometimes you just have to work with what you've got. And that can be quite difficult to. And a good example of that is, I had to shoot for a client back in January, it was outdoors, and they wanted it to have a an all round year feel of something quite warm that they could use the pictures all year. And it was a really, really cold day, the models I was using were absolutely freezing there outside all day there and they had scarfs and jumpers on, and the people at the brand kind of wanted it to look summery. And we're asking them to take their scarf and jumpers on. And I was like this is really tricky, because these people are freezing. And I can't make it look any other way than it is because it was a really cold, foggy day. I can't make that look Sunny. Sometimes you just have to work with the conditions that are presented to you. So yeah, I think being flexible, and being able to move things around is great. But that can't always happen. And you just have to work with what you've got. And I think the brand has to appreciate that the one thing that I've one of those variables that you cannot control is the weather. So you just hope that you've gotten a really understanding client sometimes.

Angela Nicholson: 26:11

Are you quite good at moving on from the fact that the weather isn't what you wanted it to be? And you can kind of move on and just accept what it is and work with that

Emily Endean: 26:19

Quite often. Yeah, I think I can as long as it's not, like 60 mile an hour winds and raining or storms. I think at that point, you've got to postpones. Yeah, but yeah, I mean, you can definitely say if I've expected good light for sunset, and I'm shooting a product, and the good light doesn't come. It doesn't always matter. Because sometimes you can get something else out of it, whether it's you focused in it in a different way, and you've got up close details. Or you can focus on the tones of a nice blue sky or you know that I think there's always something good to get from it. And you have to try and focus on the positives of how you're working with it and be quite adaptable in that way.

Angela Nicholson: 27:04

Okay, so could I have your third number please?

Emily Endean: 27:07

Yeah. Number seven.

Angela Nicholson: 27:09

Number seven. Where would be your dream trip in your van? That's from Rebecca.

Emily Endean: 27:14

Oh, in the van? Oh, I think to be honest, I think it would probably be to go to Portugal. I just I've seen so much about how Portugal just yeah, driving along the coast being able to park up by some amazing beaches. See some incredible surf? I think going anywhere in the van Portugal is very high on the nest. But of course that would mean driving down through a lot of other places in Europe, too. So making a big road trip Alfa France, Spain, Portugal, I'd absolutely love to do that. So maybe at some point, that will be the plan.

Angela Nicholson: 27:50

You haven't got it in the calendar yet though.

Emily Endean: 27:52

It's not in the calendar yet. No, there's been so much going on. To be honest, this is a really funny time because I feel like I plan certain things, but then sometimes I don't even know what I'm doing next month. And, and from a life A life perspective, that can be difficult, but also from a business perspective thinking, what am I shooting next month? How am I going to make some money next month? You know, there's all of it that goes hand in hand with with planning, but I'm not very good at that. And sometimes I just trust in the universe that the right thing is going to happen. And it usually does. But yeah, Europe will definitely be on the cards at some point more

Angela Nicholson: 28:28

Exciting. I look forward to seeing those images. Okay, so your fourth number, please?

Emily Endean: 28:33

Okay, we're gonna go number nine.

Angela Nicholson: 28:34

Number nine. Okay. This is another question from Rebecca. She says, I love your processing style. Do you use Photoshop or Lightroom or something else?

Emily Endean: 28:43

Oh, thank you a super kind. I just use Lightroom. And I'm, I'm not very techie at all. So I dabble in Photoshop. But I think Photoshop is such a huge beast that unless you learn the intricacies of what you're going to use it for. I just kind of avoid it. Lightroom does the job for me. And I think I probably spend about two minutes editing a photo. And I think that's purely because I love being out taking photos rather than sat in front of the laptop. But there is a lot to be said for editing because you can really bring out of it exactly what you want to show your viewer or how you want them to feel how you want to control the light. And I think again, by shooting in raw, you've got so much flexibility with what you bring out of that particular photo. So I think it plays such a huge part in that end image. But yeah, I just keep things really simple. Just just Lightroom all the way.

Angela Nicholson: 29:38

When you're actually in the process of composing a photograph. Do you have something in mind that you want it to look like after you've done your processing? Or do you take the shot and then look at it and sort of tweak a few sliders and think oh yeah, that's good. I'll push it this way.

Emily Endean: 29:52

Normally, I try and want an image to look mostly as how I saw it at that moment. So I think I spent It's most of the time making sure it looks right in camera, because then you can just kind of enhance that or accentuate the good bits that you you wanted to once you get back in Lightroom, I think I try and keep everything mostly as it was like color wise, I don't try to alter the colors, because I think when you're using something as beautiful as the light that nature provides to you, I wouldn't want to change that too much. But like I said, my editing style can change all the time. So looking back at those old images and the way I've shot it, or the way I'd stepped back then sometimes I think things can look a little flat and you can bring a bit a little bit a bit of extra light into it. So yeah, I think I do visualize immediately how I want the end image to look. And it's more accentuating what nature gives you than anything else. Okay.

Angela Nicholson: 30:48

So could I have your fifth number, please?

Emily Endean: 30:50

Okay, I'll go number 10.

Angela Nicholson: 30:52

Number 10. Is there a style or genre of photography? You want to try? But you haven't yet?

Emily Endean: 30:58

Good question. I think one style of photography that I really, really admire, because I don't have the confidence with it is street photography. I went to India back in 2018. And I took a lot of photos that were more street style. And it was more because the people were just so engaging, and you walked down the street at night, and all the the front of the shops still open, where there's still a lot of activity. And it just looked really cool. And there was lots of people smiling, and everyone was quite engaging and happy for you to take a photo. So I felt more comfortable in that environment, trying a little bit of street photography. And then when I get back to the UK, I just have no confidence with it whatsoever. And I see some amazing street photographers. And I really admire how they've captured the true essence of a scene where nothing has been staged on and the person doesn't even know necessarily their photo has been taken because it's such a natural moment. So I think I massively admire that because I'm either not good at it, or I don't have the confidence to do it. So I think street photography, I've tried most other things, and there are areas that I have not loved like studio photography necessarily like product studio, because I find it really boring and there's not a lot you can do with it. There's not a lot of poses you can do. So if anything, it's got to be outdoors. But yeah, I think street photography would be the thing that I wished I could try and be get up. Maybe one day, okay.

Angela Nicholson: 32:28

Okay, so your final number then please.

Emily Endean: 32:32

Oh, number one, skip all the way back to the beginning.

Angela Nicholson: 32:37

All right, so this is from Sue. She says sunrise or sunset?

Emily Endean: 32:43

That's a good one. Sunrise 100%. Because nobody else is up yet. And everywhere you go is so special and quiet that that moment the sunrise is and everyone else is tucked up in bed not even seeing it. That feels truly special. That really feels like you're the only person in the world and nature's putting on this display just for you. But that being said, I really struggle at this time of the year. I just can't get up at like 4am

Angela Nicholson: 33:15

Yes,

Emily Endean: 33:15

it's crazy. So I think sunrise at the moment. So before 5am And, and I really, really struggle with that these days. Yeah, I think years ago, I just used to do it, and then get on with my day. And I was absolutely exhausted. But now maybe because I'm getting older, I just can't lift. So this time of year, I'm inclined more for sunset, but only for that reason. Because if you put in the effort and you can get up, you set the alarm early and get up. I think there's nothing like that feeling of nobody else being around and just watching the sunset sunrise. So yeah, just for that feelgood factor that that gives you 100% I to sunrise. I just gotta get out of bed and do it.

Angela Nicholson: 33:58

You photograph the sea a lot, you love the ocean. Does the state of the tide make a difference to you? In the same way that sunrise or sunset makes a difference?

Emily Endean: 34:06

That's a good question because it can do depending on where you are in the UK because tides are so different in different areas. Like for example, if you're on the West Coast, I was in Somerset and I was shooting a sunset of an old wrecked boat and someone said to me watch out for the tides and and then down in Bournemouth the tides aren't that different between low and high. It's usually quite similar. So I hadn't really experienced those dramatic tides. And then that day I understood why someone said to me watch out for the tides because you could see it coming in with every wave. It was creeping in about a meter a second. It happened so fast. So I think it depends where you are in the UK everything's so very different. But when I'm on the south coast, and I'm shooting somewhere like Bournemouth or sandbanks or Studland drastic case like anywhere along that stretch the tide stuff really have a huge difference in, in how that that kind of reacts for you. But that being said, I'll always check not just my weather apps, but my tide apps because you want to check the swell as well and the current and you know, if if you're at the shoreline, where if I'm photographing like sunrise at the shoreline, for example, I'd like a nice swell because you get a nice wave movement coming in and out and you get those lovely lines of drawback playing with the shutter speeds and things like that. But then if I'm in the water photographing, I really don't want any swell, and I want it to be very calm. So I can focus on the place details of the ripples and it gets really abstract. So I think, yeah, tides then will have a play in my approach to whether I go out with the housing or whether I go out with my tripod instead. So yeah, I think it will plays a big factor on how I approach things.

Angela Nicholson: 35:49

You've made me want to pack the car and go to the coast.

Emily Endean: 35:51

Yeah, come on, come on down. I'll be in Bournemouth for next week if you want to come.

Angela Nicholson: 35:57

Okay, I'll keep. I'll keep it in mind. Thank you so much for answering all those questions, or for joining me on the podcast today. That's been great to hear from you.

Emily Endean: 36:07

Aww, thank you Angela. They're great questions as well. So thank you, everyone who put something in.

Angela Nicholson: 36:12

Okay, bye bye.

Emily Endean: 36:14

Okay, thanks. Bye.

Angela Nicholson: 36:17

Thanks for listening to this episode of the SheClicks Women in Photography Podcast. I hope you enjoyed it. You'll find links to Emily's social media channels and website in the show notes. I'll be back with another episode soon, so please subscribe to the show on your favorite podcast platform and tell all your friends and followers about it. You'll also find SheClicks on Facebook, Twitter, Instagram and YouTube if you search for SheClicks net. So until next time, enjoy your photography.