my my Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. all those beautiful colors, and they're falling on the ground and carpeting the ground. You just get some of the most amazing photographs in the fall. And then in the spring, it's a different thing. All those barren trees are beginning to leaf, and fresh leaves look better than leaves that are two or three months old. And the light in the spring is sort of like the light in the fall. And actually, it's the same light, to tell you the truth, but it's a different experience. In the fall, things are dying. Things are changing color and falling off the trees and, you know, going into winter. In the spring, the barren trees are, you know, giving new life, and the grass is turning green, and it's a different kind of thing happening. But the light is the same. The light in spring and fall is basically the same kind of light. It's a wonderful light. It's a light that gives texture and contrast to things because it's not coming down from straight overhead. It's coming, even during the daytime, it's coming from an angle because the sun is way to the south of us. And that gives us a different kind of light altogether. It also gives the light more atmosphere to travel through. It makes it a little bit warmer. And it's, well, just go out and look around. Photographers notice those things. I can't, I don't tell the change of the seasons by the calendar. I don't even pay any attention to the calendar. I can tell the change. I can tell you exactly the first day of fall by the light. All I have to do is go outside. And if the light is of a certain quality, I know that fall is here. I can tell when winter is here just by the light. I don't need to check the temperature or check the calendar or listen to somebody tell me, you know, when it's fall or winter or spring or summer. I can tell just by looking at the light. So we're going to talk about photography tonight. Get your cameras, have them in your hands. We'll talk about a few things, how to get your camera ready. Refresh you on a few of the things that we just talked about before that you may have forgotten. We're going to talk about going out and photographing fall. What film do you use? Why do you use it? I mean, and why would you want to be out taking pictures in the fall? My goodness. I don't think. I don't think. I don't think. In the river, and in the river, have a friendly night, and rain, We're going to do that radio. Love is on the edge tonight, and it's on the coast to coast, look up. Love keeps having fun tonight, because I don't want to go to the up and down. See you station to have a connection, with Amazon coming through. Love keeps having fun tonight, and that's what we're doing now for you. You, you never came for a kiss, so I'm not a girl at all. You might sound like me, you are like a policy, like a city, but you're so cool. I know that you're not a girl, I'm a girl, I'm a girl, I'm a girl, I'm a girl. I'm a huge, I'm a girl, I'm a girl, I'm a girl, I'm a girl. I know that you're so cool. Ah, what a great piece of music. Love is on the air tonight. Yes, it is. We're going to talk about photography, and that's what I love. And I know that some of you out there do, too. One of our listeners, Matt, bought one of my Nikon FAs, which is the most advanced, best manual focusing camera that was ever made. It has the best meter in it, a matrix meter. And he sent me one of the pictures that he took not too long ago. So it's just absolutely incredible, a beautiful photograph. And I wish, you know, some more of you would do that. When you take pictures, if you take a photograph that's really, you know, you're particularly proud of, whether it's of your children or your house or what you're doing or whatever it is, I don't care. You know, make an extra copy and send me a picture. Eventually, we're going to have a place on the website, and I'm going to be putting that stuff up. Because I love photography. I just love it. And I'll put some of my stuff up so you can see what I like to do. And if you send me stuff, we'll put your stuff up so, you know, people can see what you like to do. Boom. And eventually, we're going to have a monthly photo contest if we, you know, when we start getting enough entries. And we'll post the winner on the home page of the website. Or maybe we'll just have a whole different website just for photography. I don't know yet. But it's going to be something like that. Okay, you should all have your camera in your hands. And let me tell you something right off the bat. If you've got one of those little, I call them Jiffy Lube cameras, you know, where instead of doing it yourself or taking care of your car, you pull into this place, and you hand your car keys to somebody, and they disappear with your car and come back 15 minutes later, and all your fluids are changed and your oil's changed and you've got to tune up and all that kind of stuff. Well, they've got cameras like that, too. You go out and you buy them, and they're not very expensive. And by not very expensive, folks, some of these cameras that are the Jiffy Lube quality actually could cost you several hundred dollars. And they're not worth it. They're really not. For several hundred dollars, you could buy used, probably one of the best cameras that's ever been made. If you just look for them, if you knew what to look for. And if you've been listening to this broadcast, you know some of them. I just mentioned one, the Nikon FA. It was the most technologically advanced manual focus, manual cameras ever. And that doesn't mean it's all manual. I mean, you could set it on program, and it would do everything for you. But it had one of the best meters ever made. It was just a fantastic camera. It will not use autofocus lenses. That's basically what I'm talking about. Everybody wants autofocus these days. They're missing out because of the boom in autofocus cameras. And because everybody is lazy and they don't want to take the time to focus themselves, they fall in love with this autofocus stuff. The problem is, is to make autofocus lenses, especially autofocus lenses that are zoom lenses, it's very hard to maintain quality. So, because of the popularity of autofocus and the little Jiffy Lube cameras that most people are buying today, the price of some of the best cameras and best, sharpest, most contrasty, beautiful lenses ever made in history are so low now that almost anybody can afford these things. And where before, you couldn't. I mean, lenses that used to sell for $2,000 is selling for a couple hundred now. Lenses that used to sell for a few hundred, you know, people are picking up for $80. It's incredible. And they're the best. They're absolutely the best. But be that as it may, whatever you have to take photographs with, we're going to try to, you know, talk about some things that you can do tonight that will make your photographs a little bit better. Okay? So you'll be happier with them. And because it's fall, and I know not all of you are in places where you can take advantage of this. Some of you live in the desert, and fall doesn't mean anything in the desert. You know, depends on where you live. As to how much you're going to be able to take advantage of the spectacular colors and photographic opportunities that occur because of it in the fall. So, those of you with the little Jiffy Lube cameras, basically, all you have to do is look through the viewfinder and compose a photograph and push the shutter button. And those cameras, they say, do everything for you. They really don't. But with today's modern print films, if you're shooting slides with those cameras, you're going to be in trouble. If you're shooting print film, the print film has such a latitude that you're going to get back, if you send it to a good photo lab or a good Jiffy Lab or a good one-hour lab, and there are some good one-hour labs, folks, that I've seen produce better photographs, you know, of the ordinary snapshot-type variety than some custom labs can produce. And you want to seek those out and use them if you're the kind of person who uses one-hour labs. Annie used to go to one over in Sholo in the shopping center where the Walmart used to be, is no more, but used to be, that produced excellent, absolutely mind-blowing prints from the negatives that she turned into them, and for everybody else, too. They just took a little bit of trouble to do it. So with today's, with the latitude of today's modern print film, I'm talking about print film, not slides, your little camera can be way off and still you're going to get back. If you take it to a good lab, you're still going to get back something that you're going to be pleased with. So don't worry about it. But the type of film that you use is critical. In a time when you're going to be taking pictures with lots of colors and, oh, just amazing, just breathtaking color abounds in fall. And there's other things that you have to pay attention. I mean, people start bundling up in fall because it gets a little nippy outside. It gets a little cool. And people go out and they start snapping photographs. And the tendency is to pose people. And I'm going to tell you right now, that's really not a cool thing to do. Unless there's some reason that you really need a certain pose for a certain shot, forget about that. What you need to do is just capture people doing what they do. And if you can do it without them knowing it, you're going to get some of the best photographs that you ever got, especially with children. Remember, don't pose anybody. Just follow them around. You know, tell them to go about their business. Don't pay any attention to the camera. And, of course, it's hard to do that. They show off and they prance around and they do things that, you know, they think don't take their picture. And after a while, they get tired of that and they'll go about their business and do the things that children and people normally do. That's when you want to start taking photographs. And because you're going to get natural, pleasing shots of people being themselves. And if you really want to remember people, you don't want to remember them because they were posed. You want to remember them for who they were. So you want to take snapshots or pictures. And most of you will take snapshots. You're going to be a photographer of opportunity versus somebody like me who makes photographs. And it doesn't matter which one you are as long as you're out for a certain, you know, end result. And you get that end result for you to please you because that's all that matters. Your photographs should please you, not me. My photographs should please me. They don't have to please you. You see, it's an art form. And it really is the eye of the photographer and what the photographer intends to end up with that makes all the difference in the world. All I'm trying to do is help you reach that end result. For instance, in the fall, a lot of people, you know, they'll see the people that they're photographing, breathing and exhaling. They'll see that fog come out of their mouth. That's the condensation of their breath in the atmosphere. And they'll see that and they won't take the picture until that's gone. Because somehow they think that that isn't cool. But that tells you that it's fall. And it tells you that it's cold. It says something in the photograph. You know, not just that the people are bundled up and all that kind of stuff. I mean, it actually really says something. Okay? So you want to try to pay attention to that. And try to capture those things that convey those messages. And you're out on the range and your stomach screams. A smart fellow gobbled some leaves. He is pork and beans. If you tell me start to grumble and you know what that means. It's time to gobble some leaves. He is pork and beans. He is pork and beans. He is pork and beans. He is pork and beans. He is pork and beans. Give you a little breather there to sort of digest some of the things that I was throwing at you. When you compose your photographs, try to do it in a manner that presents a good composition. Remember the rule of thirds. We talked about that before. Remember that if somebody is facing in a certain direction, give them room in front of them so it doesn't look like they've got their nose up against the wall. You don't want to put somebody's nose at the edge of a photograph. You want to give them room. If they're looking out, you want to give them space to look into. Remember all the things that we talked about when we talked about good composition. Basically, if you listened to those broadcasts, and I don't need to elaborate on that, and I'm not going to. I just want to remind you of a few things. Make sure that your camera is ready. You should have a UV filter over the lens of the camera. If you don't, go right down to the camera store. Now, if you've got one of these little Jiffy Lube cameras, forget it. You can't put a filter on them. Most of them. Some of them you might be able to, but most of them you can't. If you have a camera that has a legitimate lens on it, what I call a legitimate lens, go down to your camera store and buy a UV ultraviolet filter for your camera. Put it on your lens because when you're outside, you'll be surprised how much better your photographs will look if you're using a UV filter. It takes out some of that weird cast that you might find in your photographs when you get them back. It cuts through the haze so that when you're taking photographs of scenic areas or landscapes, it cuts right through that haze. I know you've taken photographs before when you can see the mountains, but when you got your photographs back, the mountains looked hazy and kind of fuzzy because there's a haze in the atmosphere. UV filters cut through that. But the main thing, aside from that, which is very important, the main thing a UV filter does is protect your lens. If you accidentally bump your lens against something, you could break it. And a UV is a protection. Instead, you break the UV filter and you just unscrew it from the lens and your lens is still okay. It's very important that you have a UV filter on your lens. Make sure your camera's clean. If there's anything wrong with your camera, take it down to your local camera store and have them fix it, whatever it happens to be. Make sure that everything's working. Your viewfinder is clear and not dirty inside so that you can see really well. And just basically make sure that everything's working okay. And then, ladies and gentlemen, what you need to do is choose your film. Choose your film. Because it's fall. And because if you're not in an area where there's a lot of color, the fall color, fall has a tendency to look a little toward the winter side. So you want a film that will bring out the most in color that it possibly can. Okay? You want to bring out as much color as you possibly can. Now, for those of you who know what you're doing and can take proper exposures, you should use a slide film versus a print film. And I'm going to tell you why. Because you're going to be taking pictures to make your photographs look the way you want them to look. If you're using slide film, you can do that. And when you send it to the lab, what you get back is going to be exactly what you put on that film. See, slide film doesn't tell lies. Slide film gives you exactly what you took. Okay? And don't call, folks. Not until I open the phones, because I'll just cut you off like I've been doing this clown for the last 15 minutes that keeps calling. Slide film. Slide film. And this is the reason why most pros use slide film. Pros use slide film because what they put on the film is what they're going to get back from the lab. If you're shooting print film, then that doesn't, you know, that doesn't always happen. Because you're at the mercy of the guy who's doing the printing. And he may not see what you saw. And he certainly doesn't know what you were trying to do at all. He has no idea what it was that you were trying to put on that film. He doesn't know if you had a filter over the lens. He doesn't know if you were, well, he doesn't know any of that stuff. Crazy people. Crazy people. Crazy people like me go crazy over people like you. Goofy people. Daffy people. Daffy people like me go crazy over things you do. While we are underneath the moon, on the bar. You've got me acting like a moon. It must be love, sweet love. Crazy people. Crazy people. Crazy people like me go crazy over things about you. Paaaahhh. Crazy people like me go crazy over you. Paaaaahhh. Crazy people like me go crazy over things you do. Crazy people like me página. I'm going to moon, mont returning home, you got me acting like a moon. It must be love Crazy people like crazy like you Cause love birds are the better Always love together Get some old old cups and all the hot Let's keep us from drifting apart Now that's the reason baby That I call you baby We're each other's counterpart For the real deal of old For the real deal of old Crazy people, crazy people Crazy people, crazy people Crazy people like me Go crazy over people like you Goofy people, goofy people Dabby people, dabby people Dabby people like me Go crazy over things you do Don't mind if I break a lot Sweet angels shine It's just heaven I've got You drive me wild Crazy people, crazy people Dabby people, dabby people Dabby people like me Go crazy over people like you Let me try to elaborate on What I tried to explain right before I cut that in So I could think about it for a moment People who are photographers know these things Other people it's a little bit difficult for them to understand Slides have to be exposed absolutely perfectly. There's no latitude in slide film. Those are called positive films, or chromes. If you go buy a roll of film that says Fuji Chrome or Kodachrome, that's slide film. Okay? And slide film has to be absolutely perfectly exposed. And so if you're trying to get a certain image on film, a professional photographer, somebody who really knows what they're doing, can make sure that that happens with slide film. With negative film, though, you're going to send that in. They're going to develop the negatives, and then they're going to print from the negatives. And the guy that's doing the printing has no idea what you were trying to do when you shot that photograph. So he's going to be correcting everything according to his conception of what that scene should have looked like. And that's exactly what you're going to get back. You're going to get back his, his concept of what that photograph should have looked like. But with slide film, or what we call positive film, or chromes, when you send that in, all they do is develop it. They don't do anything with it. They don't change it. They don't interpret it. They don't try to print it or anything. When it comes back to you, it's exactly what you put on that film. And so you can take that slide to a lab, a photographic lab, and you can give them that slide, and you tell them, make the print 8 by 10, 4 by 5, 16 by 20, 11 by 14. Whatever it is that you want, you can tell them to make that print look exactly like that slide, and they will, and you're not at the mercy of the guy doing the printing. Okay? So we're going to open the phones now and take your calls. And remember, this program is about photography. If you want to talk about anything else, I'll hang up on you. This is about photography. If you have questions or comments about photography, how to take pictures in the fall, what kind of film to use. For instance, if you're going to use slide film, I recommend Fuji Velvia. Velvia will give you the best. It will give you a chance to take the best fall pictures that you can possibly imagine if you're getting good exposures. If you're using a print film, if you can get your hands on it, I recommend that you use Agfa Ultra 50, which they don't make anymore, but you can still find it if you look hard enough. And there are other print films that will give you, you know, vivid, beautiful colors. And if you're in doubt about what that print film might be, go into your local camera store and ask them to recommend to you a print or negative film that will give you the most vivid, most beautiful colors and contrast in your ultimate photographs. Okay, folks? So we're going to open the phones now. It's 520-333-4578. Remember, this broadcast is about photography. It's not about anything else. If you're addicted to all this poison and blowing things up and dying from anthrax and all that kind of crap and you just absolutely can't get away from it for a moment, turn this program off. Go somewhere else. Find somebody else to talk to because I'm sick of it. And we're talking about photography tonight. We're not talking about anything else. Okay, everyone. Thank you. The kind of what's lost by the radio Hustonade on the western plane Makes a different way to go Sing the umbrella and the fella Have the boiling light down low The true to the radio Love is on the air tonight And it's on the coast to coast Look up, love is everywhere tonight You better look, you know the end These are comments Something that would help people take better pictures We want to hear from you Good evening, you're on the air Hello Hello And you're right on about the autofocus cameras too And about the film you mentioned I found from experience that That Velvea is the best Gives me the best I do a lot of outdoor photography Yeah, it just pops those colors right out And the contract is incredible And I've always been a manual 35mm guy I mean fully manual I used a manual light meter And got to where I didn't even need it I could just tell what I needed to set it to Yeah, after a while you can look at the light And you've done it so often that you know How to set your camera Exactly Well, this past April I bought a Nikon N80 Autofocus camera with a 300 telephoto with it And the reason I got it was because it shoots several frames a second And I found a couple of times That would have been real nice to have Well, I've run into all kinds of problems Because this thing doesn't You can go to manual It has a manual setting Which allows you to go fully manual And you could use the shutter priority An aperture priority But I'm just having an awful time Trying to get just a correct exposure with it So I've got to go to school And learn how to use this thing Are you using the matrix meter Or the center-weighted? Both I try to use the center-weight meter Okay, I know what you're doing already If you're using the center-weighted meter Then you can go ahead with all that you've learned In all of your photographic life And you'll be pretty close to the results That you've always gotten with your manual cameras But if you're using the matrix meter You let that meter determine the exposure Because I'm telling you right now That matrix meter is the most accurate meter Ever developed by anyone And what they do is They take about Oh, 50,000 Professional Photographers' work And they Meter that thing With a thousand and something Sensors And they They know The The exposure That the professional photographer used And the lens that he was using And all of that is plugged in The camera That you have That N80 Senses the lens The focal length Everything about that lens And it plugs it into this database And then it measures The light in the scene With a thousand and five different sensors In other words It measures One thousand and some odd Different segments of that scene And it compares it To the professional photographs That are stored in the database And it determines the exposure So if you're still trying To do your manual stuff And make compensation And stuff from your meter reading You can't do it With the matrix meter It's already done So when you try to do it You're defeating The whole purpose Of that meter It's better If you still want to do that To use the center weighted meter And it's usually A center weighted average meter And then you can go ahead And do your compensation And stuff like that And it'll come out Much better for you Okay I'll try that And work with it Because it's a lot more complex Than I thought it was When I got it Yeah it is And if you're using That matrix meter You let the camera do everything And that's exactly What you have to do Because if you take A meter reading With that matrix meter And you're using All of your experience To compensate For what you think Should be a better exposure You're going to defeat The meter And the meter Is the most technologically Advanced meter That there is On the planet And you're going to get A bad result Yeah and it is And I'm starting to use The more and more Slide film also Because when you go To these You know like The drug store Or wherever Where they do The photo lab The machine does it And the machine Will try to compensate And modify your print To give you the best image Well that's not What I'm trying to get Yeah well So in the learning process If I use a little recorder Now instead of Writing it down I'll record What exposure What setting What f-stop And then I look At my prints And I'll see The result of that And also I use That's the first thing I got Was a UV filter And I also use A polarizer sometimes Well the truth is When you look at Your print You're not seeing The results of What you did You're seeing The results of What the printer did Exactly With slides You'll see The exact results Of what you did Nobody can Screw with slides Yeah and that's Basically what I'm Starting to do now Is just use slide film Yeah More and more And just That's going to get me What I really want Because I like Outdoor stuff I see a lot of Sunsets outdoors And make sense Things Just because It's nice to me Because you like it That's the only reason You need it Because you like it Oh yeah You don't need Any other reason Yeah you know It's a history Of my life You know Show your kids And you know Well this is The story of my life Here but These are my experiences And there's times Where man This is just beautiful You know I'm sitting Out somewhere And this is just Lovely And I've been Tinkering with Some time exposures Too at the airport I live by Of course the DFW airport In Texas It's a big airport DFW Dallas Fort Worth folks For those of you Who don't live In Texas And don't know that Okay thanks For clearing that up But what I've been Trying to do Is to You look out Across this It's like A science fiction movie Space City And you see These planes Coming in In the darkness And so what I'll do Is like Anywhere from A 10 to 30 second Exposure Just catching the Plane Coming in Of the lights In this long Street To try to Put down The static lights In the background So it doesn't Burn into the film And I'm getting I'm starting to get Some stuff that Looks pretty good And I'll send Some to you also Alright yeah I'd love to see it I'd love to see Everybody's Photographs You know I want to see What you consider To be your best I don't want you To send me everything But you know What you consider To be The best that you Can do And what you like I just love To see other People's work And I don't care How amateur Or how professional It is I love photography And I'll love Whatever you send me Believe me I do too And I want to Say something else Too that You know For people who are Going to do What I did Do your homework Do your research Apparently I didn't Do it well enough Because I went From fully manual To this Autofocus And it Was a lot There was a lot More to it Than I thought There was A lot trickier There's really There's really Not With that camera That you have The N80 All you have to do Is set it On the matrix Meter Put it on Fully automatic Either You can put it On shutter priority If you want to Pick the shutter speed Or you can put it On aperture priority If you're concerned With depth of field Or you can put it On full program And let the camera Do everything Or you can put it On manual And switch to the Center weighted Averaging meter And if you do that You can do what You've always done And there's no change You see You can do what You've always done With that camera Because now it's Fully automatic And you're using A center weighted Averaging meter And if you want to You can ignore that meter And still use your Handheld meter So you can still do What you've always done With that camera But if you want to Take advantage Of the best meter Ever made In the whole world Use that Matrix meter And use shutter Priority Or aperture Priority Depending upon You know Whether Stopping motion Or showing motion Or depth of field Is more important To you And you're going To be amazed At what that meter Can do I mean it will Blow your mind It's very versatile It will do Practically anything I want it to do And it's a lot More than I thought So it's been An adventure It's a whole new Learning experience For me also Another thing I've got I noticed on your Websites You have those Little Canon G3s QL17 G3s Yeah I have a couple Of those Oh they're Wonderful Tens They're terrific They're one of One of the best Cameras ever made And it has a lens On it That people just If they just knew They're so sharp I love them I mean I still Keep them I've got two of them That man I don't know How old they are In fact You might be surprised But to do this broadcast Whenever I do a broadcast On photography I always bring a camera In the studio with me So that I have something To hold in my hands And look at I have in my hands Right now A Canonette QL17 G3 All black Model Which is very rare And it's one of my Favorite cameras In the whole world I love it And it's all manual And it's a range finder It's very quiet You can take it Into a meeting Where you don't want to Where people would be Disturbed by Noises from regular cameras This camera doesn't Make any noise at all They don't even know You're there Yeah I like it for just Taking pictures You know Close-ups Yeah People It works good outside I've used it for a long time And I've got it used For like A guy did a Guy did a show somewhere And I knew they had A good lens And I've just been Tickled with it Excellent lens For a long time But the camera to get If you can find one Is the Petri Color 35 That has one of the Best lenses Ever made Anywhere They're a little bit Rare They're hard to find The black model Is almost impossible To find The D model Is so rare That it's an investment And if you find one of those Get it Put it away Because it's an investment And you'll be Absolutely amazed At the photographs That that camera Will take And Petri Was a Was a company That was well known For making junk But when they made That one camera The color 35 They did not make junk They were trying Very hard to compete With the Rolly 35 With the With the Sumacan lens And they did it The photographs That you'll get with that Are equal To any Rolly ever made And some people Would swear That they're better And you can find them In garage sales And junk You know Junk swap Because people Don't understand What they are And they sell them For like nothing When you can find them Because they're rare They didn't make Too many of them Listen I gotta let you go Well thank you very much I enjoyed it Thanks for calling All right Anytime 520-333-4578 That's the number We're talking about Photography Fall photography That was a great call I really liked that call Good evening You're on the air Hi Bill Hi I'm Bill I have a K100 camera Or K1000 Uh huh It's a What's it called here It's a T-E-N-T-A-X Tintax Tintax Yeah I used to shoot that A long time ago See This was about Three years ago I used to love Doing that I used to like Doing two things Really One was When I used to have My race car And my Camaro I used to always Rush out and Go different places And take pictures All the time Yeah It's very relaxing What happened Why don't you Take pictures anymore I would really like to Here's what happened I also used to Love taking pictures Of the car In my yard Those are two items I love doing Well back then About three years ago I was dating a girl Next town over from me I met when I was Going to college Well now Let's get off In some wild Can you Let's keep Let's keep It to Let's keep It to Let's keep It to Photography Okay I'm just saying I can't read now It's very hard to read Okay I'm still being tired Like every week And I sure Would like to Get back to The way I used to be Well you can still Go out and take Photographs If I had someone with me to help me, that would be wonderful. Well, find somebody. I'm sure there's somebody who would love to go with you. Oh, it's hard to anymore. 520-333-4578 is the number, folks. Don't try to take this show off into some place where it's not supposed to be. Okay? I sympathize with the young man, but this broadcast is about photography. Good evening. You're on the air. Yeah, how's it going, Mr. Cooper? I just found out that a couple days ago, like, Polaroid went, like, Chapter 11. You know, I mean, the cameras were, like, great, you know, for instant photographs. I never heard that. Are you sure about that? Yeah, they went, like, you know, bellies up. Holy smokes. That's serious because Polaroid is not just – they don't just make instant cameras and instant film. They do a lot of other stuff. Right. They file for Chapter 11 bankruptcy. And, you know, it's like out of the blue, you know. Yeah. Well, sometimes it doesn't mean that the company is going to disappear. Sometimes it means it will be reorganized and a new management and continue going under, you know, the auspices of the bankruptcy court until they find out if it can still survive or something. Right. From what I've been reading, they're saying that they can't compete with the digital cameras, you know. And I play with digital cameras, and it doesn't do – you know, I have a Canon 18-1, you know, the manual cameras, and I took it all over Arizona, that type of thing, and, you know, took photographs. And, like, you know, Polaroid was great for the instant. Like, you know, you pull it out and you've got it right in your hands. But, you know, for them to go to Chapter 11, I mean, it's like, you know, they were like the forerunners as far as photography, as far as instant photographs were concerned. Yeah, and that amazes me because they do so many other things. I mean, they're really involved in defense contracts and all kinds of things that people don't even know about. You know, when Polaroid opened up one of their, you know, companies in Russia before the fall of the Russian regime, you know, the people were buying the cameras up like crazy because they could take their pictures and then have the KGB, like, you know, like looking over the negative. And I'm saying, like, how can he, how can he tell me, like, you know, file for Chapter 11, you know. Yeah, well, I don't either, but I'm glad you told me I'm going to look into that and see what's going on because when film and stuff like that disappears, we're really going to be in big trouble because with digital photography, you can't tell what's real and what's fake. And even digital photography because I'm involved with digital photography. Yeah, I can take any, I can take any. They say it doesn't hold up in court because it can be manipulated. That's exactly right. You can take any picture you want to of digital photography, send it to me over the Internet. I'll put it in my Photoshop program. I'll put three people in there who weren't at that scene and take two out who were, and you'll never know that I did anything. And I'm that good with it. I can do that real easy. Don't know if you saw the Internet photographs of the unlucky tourist? Oh, yeah, totally fake. As soon as I saw it, I knew it was fake. Okay. You know how I knew it was fake? Did you see the clothes the guy was wearing? Yeah, exactly. Middle of winter clothes. Well, here's the kicker for you. Now they're showing them that, you know, Gilly Plaza, there's the guy with the same outfit. I know, and people suck this up. I mean, I get this stuff all day long from people all over the Internet sending me these phony photographs that people have made up in their Photoshop program, and they're telling me it's real. Oh, and they're going off and getting crazy, and we've got to do something, and blah. You know, I send it back and tell them it's a fake photograph, and they get angry at me. It's like, you know, like, hey, look. Yeah, they get angry at me because I told them the truth. They don't want to hear it. Welcome to the club, sir. Because I beat them up, too, and I'm like, look at this. Okay. The place is not even coming in from the right angle. Okay, and now he's in Gilly Plaza. Yeah. We're in the same outfit. But, you know, let's go to film. Let's keep it with film, you know. Yeah. But, I mean, I was, like, really upset about Polaroid, though. You know, but it's in the final chapter 11, you know. Well, thank you for telling me that. I'll look into it. Thanks for calling. Have a good day. 520-333-4578 is the number. And, folks, don't send me email and stuff for hanging up on that guy before because that guy has called us many times before. He's the guy that's always, you know, if you've been listening to this program for years, you know exactly who he is. And I try to be polite to him, and then, you know, I always end up dumping him because he's a socialist place. Good evening on the air. Hi, Dale. Hi. How are you this evening? Good. Good. Good. I used to do a lot of floral photography, horticultural floral photography. Uh-huh. And use the 35-millimeter 10-pick Spockmatic. Yeah. That's a great camera, by the way. What's that? I said, that's a great camera, by the way. It's still a great camera. I know. I was offered more for it than what I paid for it, and that was 15 years ago. Oh, yeah. They're great with the collectors now. I know. It's all metal, too. Yeah. I had one back in, oh, gosh, what year was that? 1966, I think it was. I had a Pentax Spockmatic. Oh, because I bought this one when we got married, and that was 1969. So, anyway, I just wanted to call in with a little hint and tip for those who do floral photography and enjoy it. Okay. I run across this pretty much by accident. I grow a lot of different plants in the garden. And, as you may know, true blue is a real stinker to come out on film. Yes, it is. Okay. Okay. Okay. If anyone is going to shoot anything in the blue spectrum in the way of flowers, especially in sunlight. And you want the color that you photograph to appear on the print exactly like it was when you photographed it. Right. That's what you need to say. Right. That's correct. You removed your UV filter. Absolutely removed the UV filter. Yeah. And the film that will give you the best rendition of all, and this is for a slide now, is ectochrome. And that's for rendering what? That's ectochrome. Okay. It's called Kodak. Yeah. You know why? Ectochrome. Ectochrome is what we call a cool film. It renders colors cool, and blue is a cool color. Correct. All right. Yeah. Because most of the others, like Kodakolor, the old Kodakolor, and some of the newer ones, they just blast away with oranges and reds. Yeah, they do. And anyway, that turned out to be absolutely as close as I could get to anything in the blue spectrum. If you're photographing anything that's cool, or any cool colors that you want to render as close to the original subject as possible, ectochrome is a really good film for that. I know. I know. If you're trying to photograph warm things or show scenes at a beach, ectochrome is not the cool film to have. It's not the good film to be done. Don't forget to put your UV filter back on. Yeah. Absolutely. That's a great tip, because even me, I would not normally, knowing that a UV filter tends to cut the blue, even knowing that, I would tend to leave my UV filter on. And now, thanks to you, I'll remember to take it off. Well, with that problem, if you leave it on, you'll get a good rendition. But if you have a flower that is a really nice blue, like some of the delphiniums and certain flowers that are very close to true blue, you're going to come out with a washy magenta. Yeah. And it just will not be true at all. Yeah. Okay. By the way, I shoot a lot of video, too. And I use the... Video's tough for me, because I can't figure out its relationship to film. I know. That's the mistake. Don't. You're working with video. I know, but I can't figure it out. I mean, I just, I have never, not to this day, been able to... And I shoot a lot of video. And I'm making videos that will, you know, someday be available to the public. But I can't figure it out, because video... I even talk to the videotape manufacturers, and I say, what is the equivalent ASA of this videotape? And they can't tell me. But it has to be an equivalent ASA, or the camera couldn't function. And it's automatic for them. Yeah, you're right. But I found, just forget that. Just forget it altogether. I use the Canon XL1 video camera, which is one of the top of the lines. I have that, too. It's a warm, it's also a warm camera. You're not going to take a picture of that blue flower with the XL1 and have it come out blue. No, that's true. However, the wonderful thing about video is, first of all, you must use a good monitor, preferably an industrial monitor with 600 line resolution, so you're seeing what you shot. Yep. All of it, that is. Uh-huh. And make sure that your chroma setup is absolutely correct by color bars. Yeah. And then you will get what you see, what you shot. Yeah, but the problem is, is when you want to make it look different, and you can do that with film. Right. You can't always do that with videotape. Yeah, that's true. And that's what I'm talking about. I can't figure out how it relates to the film. I can't take a videotape and make it do what I can make film do. I know. And that just frustrates me to know it. It drives me right up the road. I know. I understand. Well, listen, Bill, I'll let you go. Well, thanks for the call. And thanks for the tip. That's a great tip. Because most people, when they put their UV filter on, they never, ever take it off for as long as they own the camera. Now, that's really the only time you do have to take it off. Unless, also, unless you want the true blue of the color of the sky that you're shooting. Then you've got to be careful with that filter again. Well, the true blue of the sky, some of these modern films, like Velvia, for instance. Believe me. You're going to, you're going to, it's a slide film. Buy a roll and shoot it, and you'll see what I mean. You can leave that UV filter, and you're still going to get beautiful blue skies, deep blue skies. Velvia, well, go get a roll and shoot it, and you'll see what I mean. You'll get color like you've never dreamed of before, and it's just absolutely incredible. It's beautiful. I'll have to try that. If you like good contrast and deep, wonderful colors, Velvia will blow your mind. Okay, I'll try that. I've never heard of it, though. Yeah, it's Fuji. Fuji, Fuji Chrome. Yeah, and as far as Ectochrome goes, I know it's getting close to the end here. As far as Ectochrome goes, Ectochrome X, the original, was the best, and they changed the formula. Wow. Kodak is always changing everything. It really, that's why a lot of professional photographers don't use Kodak anymore. They use Stirkley, Fuji, or Agfa, or some other film, because Kodak, see, a professional photographer, you learn a film. Right. You learn it, and you work with it, and you use it, and you rely upon that knowledge. And then Kodak comes along and changes it. And then does away with the film that you use, that you know how to use, and you never see it again. I know. And so all that knowledge is gone, and you have to experiment with their new, and so a lot of professional photographers absolutely stop, won't even touch Kodak with a 10-foot pole. I've got to let you go, because we're way out of time, and we're over. Good night. Good night. Thanks for all of your work, by the way. Well, thanks for calling. Thanks for that tip. That's it, folks. That's it. Oh, my goodness. What was that? Well, here we go. Let me see. What am I going to take us out of here on? I've got to take us out of here on something. Well, let's do this. Number, whatever it is. Let's take us out on this one. Good night, folks. God bless each and every single one. Good night, Annie Poo and Allison. I love you. Mystery. Mystery. That's for all you people who couldn't stand the photography show. Now we'll give you some... ...sustance. Mystery excitement makes your blood boil. Who's that? Sam, is that you? Sam, is that you? Oh, no. Come on. Come on. I love you. Ah! Somebody help me. Somebody help me.