Prime Lenses

138. Simon King
He made a feature film about 27 London street photographers on a camcorder, and now he isn't sure who his next one is for.
Guest: Simon King, a London documentary photographer and teacher, and the director of Everything Happens All the Time · Instagram · Blog · 35mmc author page
In this episode
Simon King spent about four months shooting Everything Happens All the Time, a free, feature-length film of 27 London street photographers talking to him and, in the edit, to each other. I'd watched it before we sat down and loved it, so this conversation started early and wandered: why the film lets photographers talk about whatever they like, what a photography community looks like when nobody is lurking in a doorway with a long lens, and why cheap kit isn't the barrier it's made out to be. Then it gets harder. What do you become once the thing is finished? Simon is candid about the slump that follows a project, about not caring whether anyone sees his work, and about why he thinks the making has to be the part you enjoy. There's also a very good story about a portrait that ended up on somebody's mum's fridge.
Highlights
Positions are approximate (percentage of the way through the conversation) until real timestamps are added.
• [~7%] Why the film shows photographers as people hanging out, not noir detectives with long lenses
• [~11%] The production company that bought the cheapest CCTV tape going so marginalised communities could see themselves on TV
• [~12%] Why the easiest film to make on a phone tends to be an aggro one, and the £3 karaoke-toy microphone going to India instead
• [~25%] Around 35 interviews shot, 27 kept, and why street photography is a niche of a niche that most people only meet through controversy
• [~42%] "So I'm making it for no one": the problem with a second film
• [~47%] The slump after finishing, and why he doesn't buy the romantic version of it
• [~64%] Why leaving your work behind sounds to him like litter, and the print that ended up on a fridge
• [~72%] The electrician on a film set, and why the process has to be the enjoyable bit
Chapters
Approximate positions, not timestamps. Replace with real times from the edit before pasting into a host that reads chapter markers.
~0% Warm-up: swearing, Scotland and first reactions to the film
~3% The film lets photographers talk about what they want to talk about
~6% Community, loneliness and "go outside"
~9% Is cheap kit a barrier? Camcorders, phones and the CCTV-tape story
~12% Why accessible filmmaking drifts to aggro, a £3 microphone and a trip to India
~16% Krishnamurti, dissatisfaction and the problem with gear talk
~19% The mock sign-off ("a great 17 minutes")
~20% The proper start: why make a film about this group of people
~24% 27 interviews kept, around 35 shot
~25% Street photography's image problem and Tatsuo Suzuki
~29% One voice, many versions of themselves
~32% Joey, and London as an overlooked photographic city
~35% Photographer first, filmmaker second
~42% "So I'm making it for no one"
~47% The sense of defeat after finishing
~55% Not arting well, and step counts versus frames
~61% Why make and share work at all
~64% Legacy, litter and Vivian Maier
~67% A portrait on a fridge, and a footballer who nailed it first take
~72% Enjoying the process: the electrician on a film set
~76% One-person production, books and the zine that fell flat
~84% Finding the right medium: video versus audio, and experimenting
~92% How the film was made: Nipon's one take and a gallery opening
~97% Where to watch it
Mentioned in this episode
People
• Simon King, the guest. His D.C. Exclusion Zone series, on the Biden inauguration, is likely the DC project we mention · [~3%]
• Daniel Milnor, photographer, Blurb creative ambassador and a past Prime Lenses guest; his Shifter post on the film is likely the blog piece mentioned · [~3%]
• Tatsuo Suzuki, the Tokyo street photographer at the centre of the 2020 Fujifilm X100V advert row · Wikipedia · PetaPixel on the controversy · [~25%]
• Joshua K. Jackson, street photographer in the film (Simon calls him "Josh") · Street Life podcast episode · [~20%]
• Joey Nutkins, the cinematographer Simon wants me to have on, working in anamorphic and making a short-film series about photographers · [~32%]
• Also in the film and named in the episode: Mike Chudley, Tim Jamieson, Cal Holland, Nicole Louw, Trisha Lyon-O'Neill and Nipon Ravel. Full cast is in the film's YouTube description.
Books and reading
• Think on These Things by J. Krishnamurti (1964, HarperOne edition), the book a friend recommended to me, with a chapter on creativity and constant dissatisfaction · Krishnamurti Foundation Trust · [~16%]
Music, film and video
• Everything Happens All the Time (2026), Simon's film · Watch on YouTube · IMDb · Letterboxd · [~0%]
• How the film was shot, in Simon's words: British Cinematographer · PetaPixel · Digital Camera World
Watch and listen
The film is free and runs 1 hour 45 minutes. It plays well as audio, which we also talk about.
Everything Happens All the Time (2026), full documentary
Quotes
It's easy to get a response from someone if you're being aggro. And so that's where you get so much fight content just filmed.
— Simon King, ~12%
I get nothing from the knowledge that out there somewhere someone has enjoyed something I made that's not connected to me. The enjoyment is from the making of the work and then the mutual enjoyment with others in either making or experiencing that work.
— Simon King, ~64%
The process of making something is not the process of looking at that thing. So if you're an electrician on a film set, if you only enjoy watching films and you don't enjoy being an electrician, you're not going to enjoy what you're actually doing.
— Simon King, ~72%
Mentioned but not linked
• "When I die, burn my negatives" [~64%]: Simon's blog article on legacy. Couldn't find the post; probably on his blog above.
• Simon's DC book [~3%]: Daniel Milnor "loved your book". I found the project but couldn't confirm the book's title or a page for it.
• Matty's book on Gaza [~5%]: my guest, who also photographed in Ukraine. Couldn't pin down who.
• The CCTV-tape production company [~11%]: Simon half-remembers it as "the people's production company", filming marginalised communities in the 70s and 80s. Nothing confirmable.
• Saga [~39%]: photographer and filmmaker who made a video for Ilford with his own drumming as the soundtrack. Not found.
• AP Leslie [~84%]: my recent video episode about his film. Link your own episode page.
• Still in Street, at the Photobook Café [~95%]: the gallery opening where Simon grabbed last interviews. Couldn't confirm the exhibition or host.
• The film on Dailymotion and the Internet Archive [~97%]: Simon says it's on both, as well as YouTube. Couldn't find either copy.
• Name-checked in passing: David Lynch and Eraserhead, Werner Herzog, Vivian Maier, Harmony Korine, Taika Waititi.
Credits
Hosted and produced by Iain Farrell. primelensespodcast.com

137. The World’s Best Visa

Ron Timehin on trumpets, fog, Vogue, burnout, and why a body of work outlives a post.

Guest: Ron Timehin — London photographer and director, Sony European imaging ambassador · https://www.rontimehin.com · https://www.instagram.com/rontimehin

In this episode
Ron Timehin started as a trumpet-playing teenager, was made an Instagram suggested user before his pictures were good enough, and chose to get good rather than hide. Sixteen years on he has shot on the team behind British Vogue’s September 2020 issue, directed a Dove film about hair discrimination in schools, and this year has work at Somerset House and heading for the National Portrait Gallery. We talk about practice as scales rather than volume, why he won’t pick up the camera until a sitter has been given a chair and some music, the Canon-to-Sony story that ended with a 35mm f/2.8 Zeiss on an A7CR, the burnout that followed his first solo show, and why work built as a series lives longer than a post. It closes on The Black Rainbow, the project he is a third of the way through, and a practical plea to back up your hard drives.

Highlights
No audio timestamps were in the transcript. Positions below are approximate: how far through the transcript the moment falls.

≈12% He studied the business of music as a compromise with his parents, skipped lectures to photograph instead, then got a two-week Instagram feature that jumped his following by around 25,000 while he thought his photos weren’t very good.
≈16% Practice as scales: why targeted practice beats random practice, and how classical trumpet fundamentals carried into jazz and then into lighting and composition.
≈25% How a shoot starts long before the camera: emails, research, music playing, a team who are warm, and hair and makeup before a single frame.
≈38% After his first solo exhibition he couldn’t do anything for a month. Burnout, rent, and why personal projects keep leading to commissions.
≈41% Vogue found him through a photo essay on the George Floyd protests in London, which is how he ended up on the September 2020 team.
≈52% Iain’s airport story: socially engineered into buying a 35mm f/2.8 Zeiss. Ron’s version of that lens lives on his A7CR as his daily carry.
≈71% The foggy afternoon at Tower Bridge when he spotted a young Black trumpeter in an air cadet band and the portrait work began.
≈82% Photography as the world’s best visa: it gets you into rooms, and out of conversations with weird Uncle Ted.
≈86% What’s next: the National Portrait Gallery show, and The Black Rainbow.

Chapters
Positional only (no timestamps in the source). Swap in real HH:MM:SS from the edit if you want podcast-host chapter markers.

≈0% Opening banter and sound check
≈1% The studio, Tom Oldham, and how Iain and Ron met
≈4% Paying it forward: trumpet, mentors, planting seeds
≈9% Parents, expectations, and building a creative circle
≈12% Music business degree, Instagram, and getting serious
≈16% Practice, scales, and fundamentals
≈21% Why people: belonging, and preparing the room
≈27% The playlist (Coltrane, Cleo Sol)
≈30% A big year: Vogue, Dove, Portrait of Britain, Somerset House, NPG
≈38% Burnout, personal projects, and Misan
≈46% First cameras: point-and-shoot, Canon, then Sony
≈52% The 35mm f/2.8 Zeiss, the A7CR, and the workhorse
≈59% Play, small cameras, and other creative outlets
≈65% London Fog, books, zines, and rapid iteration
≈71% The air cadet trumpeter and the shift to portraits
≈78% From hero shots to bodies of work; Favela Brass
≈82% The world’s best visa
≈86% What’s next: NPG, Soho House, The Black Rainbow
≈91% Andrew Scott and "openly gay"
≈96% Where to find Ron, backups, and NAS prices

Mentioned in this episode
People
Ron Timehin — guest; photographer, director, Sony European imaging ambassador · https://www.rontimehin.com
Tom Oldham — portrait photographer; shares the London studio Ron is calling from, and has been on the show · https://worldphoto.org/node/4839 · ≈1%
Misan Harriman — lead photographer of the Vogue September 2020 cover; now chair of the Southbank Centre · https://en.wikipedia.org/wiki/Misan_Harriman · ≈32%
Adwoa Aboah and Marcus Rashford — the two cover subjects of that issue · https://en.wikipedia.org/wiki/Adwoa_Aboah · ≈31%
Alan Schaller — black-and-white street photographer, a former musician and past guest · https://teneues.com/en/authors-photographers/alan-schaller · ≈15%
Judah Passow — photojournalist and past guest, mentioned for access in conflict zones · https://www.hachette.co.uk/contributor/judah-passow/ · ≈83%
Tom Ashe — British trumpeter who founded Favela Brass in Rio · https://favelabrass.org/about · ≈78%
Books and reading
London Fog — Ron’s first book, published by Trope Publishing in 2019 · https://photobite.uk/the-word/trope-publishing-announce-london-photobooks-pop-up-exhibition-featuring-emerging-photographers/ · ≈65%
"I’ve been exploring what it means to be queer with African heritage" — 1854 Photography interview with Ron about The Black Rainbow · https://www.1854.photography/?p=76394 · ≈87%
Tools and products
Sony Alpha 7CR — 61MP compact full-frame body Ron carries daily · https://community.sony.es/t5/discover-sony/two-new-alpha-7c-series-cameras-have-launched/ba-p/3924123 · ≈54%
Sony Alpha 7R VI — the successor to the A7R V that Ron uses for jobs; announced May 2026 · https://sony.mediaroom.com/2026-05-13-Sony-Electronics-Accelerates-High-Resolution-Photography-with-the-Alpha-7R-VI · ≈55%
Companies and institutions
Sony Alpha Universe: Ron Timehin — Sony ambassador profile · https://www.sony.co.uk/alphauniverse/ambassadors/ron-timehin
Dove: Reclaiming School Picture Day — the hair-discrimination film Ron directed · https://www.lovethework.com/work-awards/campaigns/reclaiming-school-picture-day-1525417 · ≈33%
Vogue, September 2020 — Misan Harriman on the issue · https://www.pbs.org/wnet/amanpour-and-company/video/misan-harriman-on-his-historic-vogue-cover/ · ≈31%
Favela Brass — free music school in Rio de Janeiro · https://favelabrass.org/about · ≈78%
Places and events
Winston Taylor Photo Portrait Prize 2026 (formerly Taylor Wessing) — National Portrait Gallery, London, 5 November 2026 – 17 January 2027 · https://npg.org.uk/PhotoPrize · ≈35%
Sony World Photography Awards 2026 — Professional competition; exhibition at Somerset House · https://www.sony.eu/presscentre/sony-world-photography-awards-professional-competition-finalists--shortlists-okswt7 · ≈29%

Quotes
“Photography gives you the world’s best visa, because it allows you into spaces and places you would not be allowed otherwise.”
— Ron Timehin, ≈82%

“As much as you are planting seeds in your garden, make sure you’re planting seeds in others as well. So you can watch them flourish.”
— Ron Timehin, passing on a line from Chadwick Boseman, ≈5%

“It was like my two worlds colliding.”
— Ron Timehin, on the air cadet trumpeter, ≈72%

Mentioned but not linked
Portrait of Britain — Ron’s image shown on screens across the UK this year · ≈33%
The Labadi Community — likely the Ghana series shortlisted at Sony World Photography Awards 2026; not confirmed from a primary source · ≈34%
The Black Rainbow — Ron’s current project; no project page found · ≈87%
Andrew Scott clip on "openly gay" — couldn’t find the clip · ≈91%
Brandon Talbot — YouTuber and a friend of Iain’s, mentioned as an athlete who knows about putting in the reps; no channel link confirmed · ≈16%
Tobishinobi — close friend Ron shot with every day, who gave him a spare Sony A7 and started his switch to Sony; no profile link confirmed · ≈48%
"Sam" — mutual acquaintance who vouched for the first A7 · ≈50%
Photography Show / London video and photography event — where they first met; exact event unconfirmed · ≈2%
28 Sunbury — the studio location; unconfirmed · ≈1%
Zeiss 35mm f/2.8 — the lens; model not confirmed · ≈50%
Misan’s Soho House workshop — end of October; details not confirmed · ≈87%
Cleo Sol, John Coltrane — on Ron’s studio playlist (Iain also mentions Superfly) · ≈27%

Credits
Hosted by Iain Farrell. Guest: Ron Timehin. Prime Lenses is an audio-only photography podcast, new episodes every Sunday.

Prime Lenses Episode 136 – Colin Prior
Four decades of Scottish landscapes, the camera he sold and never went back to, and thoughts on the future of photography and AI.
Guest: Colin Prior — Scottish landscape photographer, best known for his panoramas · colinprior.co.uk
In this episode
Colin Prior has spent four decades photographing Scotland’s mountains, much of it on a Fuji 6x17 panoramic film camera, and he opens this conversation with the one thing he says to everyone: it’s not what’s in the picture, it’s where it takes you. From there we talk about the eye path, which he’d like you to think about instead of leading lines, and why he’ll take a few stray white dots out of a frame. He explains why he sold the camera that got his early work noticed and never went back, and he’s blunt about the world it left behind: magazines that no longer pay, video eating stills, and inkjet ink that costs more than a good whisky. His case for books, and for handing yours to a publisher and a designer, runs through the middle of the episode. We finish on AI, an AI-made Odyssey, and the book he’s been working on for ten years and isn’t in a hurry to finish.
Highlights
~9:00 “Leading lines” is the wrong idea. Colin calls it the eye path, and he’s happy to remove a few stray white dots to protect it.
~15:00 If you have to ask yourself whether you got the picture, you didn’t.
~16:20 Why he sold the 6x17 camera behind his panoramas, and why stitching digital panoramas never tempted him.
~22:20 The brain stores a still image as a single moment. Video, he says, goes in one ear and out the other.
~24:50 Inkjet ink that costs more than a 21-year-old single malt, and the case for letting a lab do your printing.
~29:10 Why he has never self-published: you sell to the choir and the congregation never sees it.
~40:20 On his workshops: the camera stays in the bag while he walks the landscape looking for evidence.
~56:30 The book he has been making for ten years, and why he doesn’t want an end date.
Chapters
0:00 Cold open: “It’s where it takes you”
~0:20 Iain’s introduction
~1:20 October light, and four winters without snow
~5:30 Why landscape? Birds came first
~9:00 The eye path, rogue highlights and what editing really is
~14:00 Self-taught, and what failures teach
~15:40 Selling the Fuji 6x17
~21:00 Magazines, video and the brain that stores single moments
~23:50 Megapixels, prints and the inkjet problem
~27:40 Books: design, distribution and why not to self-publish
~37:20 Running workshops: critiques, and the camera that stays in the bag
~42:00 Thinking in layers
~44:40 Undisturbed places, Skye as a theme park, and Munros
~49:00 Trends, 500px and colour in print
~53:10 AI, and the AI-generated Odyssey
~56:30 The ten-year book and the underground archive
~59:50 Where it takes you, and where to find Colin
~1:01:40 Outro
Mentioned in this episode
People
Colin Prior — the guest; Scottish landscape photographer, best known for his panoramas · colinprior.co.uk
Joe Cornish — landscape photographer and a friend of both Colin and Iain · joecornish.co.uk · ~3:50
Graham Niven — Nethy Bridge photographer and an earlier guest (Prime Lenses Episode 131), whose conversation led Iain to Colin · Niven Photography & Arbor Gallery · ~6:00
Ansel Adams — Colin’s comparison for digital dodging and burning · The Ansel Adams Gallery · ~13:20
Music, film and video
Behind the Lens — the Sigma video series Colin and Joe Cornish made together, which Iain mentions enjoying · Colin’s write-up · PetaPixel on the series · ~31:20
The 2.5-hour AI-generated Odyssey movie is 2.5 hours too long — the Verge review Iain read that morning, of the AI film Odysseus: The Fall · The Verge · ~53:30
The Odyssey — Christopher Nolan’s 2026 film, released around the same time · Wikipedia · ~53:30
Tools and products
Fuji GX617 — the 6x17 panoramic film camera behind Colin’s panoramas, with the 90, 180 and 300mm lenses he mentions · Specifications · ~15:40
500px — the photo-sharing site Colin was once told to put his panoramas on · 500px.com · ~51:10
Companies and institutions
The Royal Photographic Society — Colin says he told its president that nobody will print while printing costs this much · RPS Distinctions · ~26:30
Waterstones — Colin on why photographers’ books need mainstream distribution, and what the shelves look like now · waterstones.com · ~29:10
Places
Isle of Skye — the Quiraing, the Old Man of Storr, the Fairy Glen and the Fairy Pools, and Colin’s view that Skye has become a theme park · VisitScotland · ~45:50
Schiehallion — the mountain above Kinloch Rannoch in a friend’s photograph, with sheep creating the eye path · Wikipedia · ~9:50
Find Colin’s work
Colin Prior’s website
Books and calendars
Group tours and workshops
Colin on Instagram

135. James Popsys
What if the goal isn't to make photography easy - what if the difficulty is the whole point?
Guest: James Popsys. Photographer, YouTuber and author based in Snowdonia, North Wales · jamespopsys.com · YouTube and Instagram: search "James Popsys" (P-O-P-S-Y-S)
In this episode
James has been on my list of dream guests for ages, so I was thrilled to finally sit down with him. We start, as these things do, with lawnmowers and film scanners, before getting into the real story: a marketing job in London, weekend photo walks, a conceptual composite of the London Eye as a bicycle wheel, and a move to Sydney that somehow led to a YouTube channel he started almost by accident in New Zealand. James talks about guarding his own individuality by deliberately not watching other photographers' videos, connecting the dots backwards to find the worldview running through his work, and what it took to commit thousands of prints to paper for his book Human Nature. We get into his one-lens, one-body philosophy, why he thinks difficulty is a feature of photography rather than a bug, and why he'd still rather be surprised by an ordinary place than get the photo 3,000 other people already have. He's off to East Greenland in a few days to experiment with a more hybrid, video-forward workflow, and this conversation is a lovely primer for anyone who wants to know how he got there.
Highlights
[Opening] Film scanners, darkroom chemistry, and a cold open about finding surprise in unremarkable places
[Opening] A very serious digression into battery-powered lawnmowers
[First third] The London Eye as a bicycle wheel, and the Sydney-to-YouTube origin story
[First third] "You can't connect the dots going forward" - finding the worldview that was there all along
[Middle] Making Human Nature: watching the zeroes stack up on a 15-metre printer
[Middle] The horses-through-the-window print, and why James is a "one body, one lens" traveller
[Middle] A Leica SL3's peeling grip, and 21-year-old Leica R8 and R9 bodies that still work
[Second half] Guarding individuality by not watching other people's videos
[Second half] AI, disclosure scandals, and why nobody's asking for more of it
[Late] Street photography, Britt Bradley's Gen-AI-vs-wet-plate test, and heading to East Greenland
Chapters
Positions are approximate. The transcript has no timestamps.
Opening Cold open: finding surprise in unremarkable places
Opening Film scanning setups and darkroom chemistry
Opening Kit Young's 400-roll film habit
Opening North Wales weather and the lawnmower tangent
First third James's origin story: London, Sydney, and an accidental YouTube channel
First third Connecting the dots backwards to find a worldview
First third Guarding individuality; avoiding other photographers' and podcasters' work
First third Human Nature: starting the book, and the RISD-style question of what comes after book one
Middle Printing day: watching thousands of pounds turn into ink
Middle The horses-through-the-window print and limited-run prints
Middle A 140kg Canon PRO-2600 printer in the house
Middle Exhibitions, introversion, and whether James should "try anything once"
Middle Why a photo feels finished when it's printed
Second half The New York school-bus photo, 40mm, and shooting at "imperfect" times of day
Second half Not doing YouTube gurning thumbnails
Second half Dabbling in filmmaking and switching to DaVinci Resolve
Second half One body, one lens, and heading to East Greenland with Jeroen Van Nieuwenhove
Second half Gear rules, a Leica SL3's peeling grip, and the Leica R8/R9
Late AI disclosure scandals and the Ricoh promotional-material controversy
Late Britt Bradley's Gen-AI vs wet-plate test
Late Running a business to sustain people, not to maximise returns
Close Where to find James, and lawnmowers revisited
Mentioned in this episode
People
Thomas Heaton - landscape photographer and one of the first photography YouTubers James watched early on · YouTube · [First third]
Joe Allam - travel and street photographer and YouTuber James cites as an early influence · joeallam.co.uk · [First third]
Nigel Danson - landscape photographer and friend who reassured James his printer inks would last for years · nigeldanson.com · [Middle]
Ed Smith - photographer local to me, mentioned for his exhibition work · [Second half]
Josh Edgoose - London street photographer known for finding humour in the everyday, featured in a video with Sean Tucker that stuck with me · Fujifilm profile · [Second half]
Sean Tucker - photographer and YouTuber who filmed the Josh Edgoose video I mentioned · [Second half]
Jack Lodge - former guest and South Coast photographer known for returning to the same spot across every season · [Second half]
Cal Henderson - former guest whose film street photography I mentioned · [Second half]
Britt Bradley (Nitrate Fox) - former guest and wet-plate collodion artist who posted a Gen-AI-vs-real comparison that fooled me completely · Lens Culture profile · [Late]
Kit Young - former guest, film photographer who buys film in 400-roll packs and views his work exclusively as prints · [Opening]
Jeroen Van Nieuwenhove - landscape photographer and workshop leader James is running an East Greenland trip with · jvn.photo · [Second half]
Books
Human Nature by James Popsys - his first photo book, self-published in 2024, exploring the relationship between man-made structures and nature · [First third]
Tools and products
Valoi Easy120 - the film scanning rig Iain is using and James is considering · Valoi · [Opening]
Ilford XP2 Super - the black-and-white film James shoots that develops in a standard colour C-41 process · Ilford · [Opening]
Kodak Portra - the colour film Iain is buying more of · [Opening]
Canon imagePROGRAF PRO-2600 - James's 140kg, 24-inch-wide print studio-in-a-house · Canon · [Middle]
Leica SL3 - the camera James used briefly before its grip started peeling · Leica · [Middle]
Leica R8 / R9 - Iain's 21-year-old film SLRs, one fitted with a 10-megapixel digital back · [Middle]
Panasonic Lumix GX1 - a small Micro Four Thirds camera James recently rediscovered with an added viewfinder · [Second half]
DJI Osmo Pocket - the compact camera both James and Iain use for lightweight, all-in-one shooting · DJI · [Second half]
Peak Design sling - the camera bag both James and Iain independently landed on · Peak Design · [Second half]
DaVinci Resolve - the video editor James switched to after leaving Adobe's subscription model · Blackmagic Design · [Second half]
Ricoh GR - the viewfinder-less compact camera at the centre of a promotional-material AI controversy · Ricoh · [Late]
Places and events
Ammassalik / Tasiilaq, East Greenland - where James is headed days after this recording, to experiment with a hybrid stills-and-video workflow · jvn.photo workshop listing · [Second half]
New Zealand - where James shot his first, unplanned videos before starting his YouTube channel · [First third]
Chinatown, London - setting for the Josh Jackson/Josh Edgoose street photography video James remembered · [Second half]
Quotes
I found most joy in getting something that I think is really interesting in a place that isn't particularly interesting.
James Popsys, [Opening]
The idea of one day can quite easily slip away, can't it?
James Popsys, [Second half]
What if we just ran the business to sustain the people that work there and that's it, and we didn't worry about maximising returns?
Iain Farrell, [Late]
Mentioned but not linked
"The name of the car is a little bit." [Close] - the transcript's final line is garbled and I couldn't reconstruct it. Please check the audio.
Rico / Ricoh promotional-material story [Late] - James says he "heard" about this but didn't know the details; I couldn't independently verify which campaign is meant.
The Hasselblad competition "coke bottle" story [Late] - referenced in passing; I couldn't confirm the specific competition or year.
GoPro disclosure controversy [Late] - mentioned without a name attached, so I couldn't research or link it.
Credits
Hosted and produced by Iain Farrell.
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