Podcasts about Minolta

Like the saying goes, "better late than never", the Camerosity Podcast is back with Episode 91, which is dedicated to cameras of the 90s.  Which 90s you prefer, 1890s or 1990s, all 90s cameras are welcome! Joining Anthony, Paul, Theo, Stephen, and Mike are returning callers, AJ Gentile, Ira Cohen, Miles Libak, Nick Marshall, Robert Rotoloni, and Will Pinkham and we cover a wide range of 1990s cameras and technologies.  Paul starts off with some stories about mini labs and how single use cameras became a big thing.  We dive into bridge cameras, including the Olympus IS-2 which Mike gave rave remarks to. We discuss a large number of point and shoot cameras including premium models by Nikon and Konica, and ponder why the Olympus Stylus Epic is so popular today.  We talk about some dead end technologies from the 90s such as Minolta's ill fated Creative Expansion and Canon's obscure barcode scanner for the EOS 10S. Not all technologies from the 1990s were failures though as the 1990s was the first decade of digital cameras.  Models like the floppy disc Sony Mavica and Nikon D1 were great cameras with a historical significance which helped prove that digital photography had arrived. We round out the discussion with why Theo loves the Mamiya 7 so much and how it compares to the Mamiya 6, Robert shares some info on the development of the Nikon S3 2000 edition, and we have a thorough discussion on Kyocera's Contax SLRs. As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we decided to explore the Italian camera industry as its not often discussed in camera collector circles.  While Germany, Japan, the Soviet Union, and the United States were well known as makers of fine cameras, a great number of really cool cameras were made in Italy such as the Rectaflex, Ducati Sogno, Gamma II, and other models by Bencini, Durst, and Ferrania.  Join us if you're a fan of cameras from this "boot shaped" country, and see if we can manage to fill an entire episode without getting distracted!  We will record Episode 92 on Monday, May 19th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Jeff and Gabe Can't Pronounce French Names / Alan Peres Sends Us Emails Now Sometimes Its Hard to Remember That We Like Cameras from the 1990s The 1990s Was the Decade of the MiniLab and Single Use Disposable Cameras Olympus Invested Heavily in Point and Shoots in the late 1980s In the 1990s, Olympus Gave Up on Traditional SLRs and Created the IS-Series Olympus IS-2 / In the 90s Zoom Reach was Over Valued By Novices Why Are the Olympus Stylus Epics so Expensive? / µ[mju:]-II Nikon F5 Improvements Over the F4 / Paul Really Hates the Nikon N70 The Nikon N90/F90 Was Nikons Best Semi-Pro SLR of the 1990s Broken Battery and Film Doors Were a Huge Problem Back Then The Nikon 28Ti and 35Ti Are Impressive Cameras but Terrible Investments 1990s Underwater Cameras / How Many People Kept Shooting 80s Cameras in the 90s? Contax S2 and Other 1990s Contax SLRs / Contax S2 and ST Mike Likes the Contax RTS II and the Contax RX / Large Contaxes Like the N1 and AX The Minolta Maxxum 600si/650si Has Mechanical Knobs and is Awesome / Minolta Maxxum 9xi Minolta's Horrible Creative Expansion Cards / Disabling Features on Consumer SLRs / Canon Barcode Scanning System The Canon EOS-1n RS / Pellicle Mirrors / Canon EOS A2E / Canon's Eye Control System Premium Point and Shoots / Konica Hexar AF / Canon Elph Theo Loves the Mamiya 7 / Mamiya 6 / Everyone's First 110 Camera Nikon Started Working on the S3 2000 in the 1990s / Differences Between the 2000 and Original S3 Sony Floppy Mavica Cameras / Nikon D1 Alfred C. Kemper Kombi from the 1890s / Theo's 1890s Australian Studio Cameras Advanced Photo System (APS) Film and Cameras / Kodak Advantix Preview Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Keppler's Vault 101: Advanced Photo System - https://mikeeckman.com/2022/03/kepplers-vault-101-advanced-photo-system/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

As sometimes happens in the wonderful world of social media content creation, "the best laid plans of mice and men often go astray" we had plans to record Episode 90 back in March, but a variety of unfortunate and unrelated happenstances occurred which resulted in a short hiatus for recording.  We had planned on making Episode 90 a show all about Cameras of the 90s, but we had also wanted Episode 91 to be recorded with two special guests, so we were forced to do things out of order. Thankfully, the obstacles which caused our six week break didn't interfere with us sitting down with Jeff Greenstein and Gabe Sachs from the I Dream of Cameras podcast.  For those of you who are familiar with their show, you'll know that Jeff has a fondness for Alpa cameras, so this unofficially doubles as our first and probably only Alpa episode. After some short introductions, we refer back to a fun comparison between the two podcasts written by listener John Kelly and both hosts give our reactions to some of his funny answers.  We cover a variety of cameras that we all love and shoot, along with Jeff's deep dive into why he loves the Alpa 11si so much. Gabe shares a story of how he's had to rebuild his camera collection from scratch after losing it when his home burned down in the Palisades wild fires that ravaged Los Angeles earlier this year.  We ponder why the Hasselblad XPan can't get repaired anymore and what other cameras are on the verge of being unrepairable.  Mike shares three very different Alpas in his collection and shares what he likes and doesn't like about all three, Anthony shares his thoughts on a new (to him) Fuji camera he recently bought, and Paul talks about his plans for traveling to Ireland later this spring. As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. As promised two episodes ago, we still want to do a Cameras of the 90s episode, but this time it will have to be Episode 91.  Finally, Theo will get a chance to talk about his beloved Mamiya 7, but in addition to that there were many other terrific cameras from that decade like the Nikon N90s and the premium 28Ti and 35Ti point and shoots, the Contax AX, and the Olympus µ[mju:]-II.  In addition to terrific film cameras, the 1990s was the first decade with a large number of digital cameras like the Minolta RD-175 and Nikon D1.  We will record Episode 91 on Monday, May 5th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. In This Episode Jeff Greenstein and Gabe Sachs from I Dream of Cameras / Episode Numbers John Kelly Compares Camerosity and IDOC Podcasts: A Rebuttal Rich Coastal Elites vs Salt of the Earth Midwesterners / So Good Camerosity Yellow and Red is the Same as Kodak Yellow and Red Mamiya 7, Alpa 10s, Pentax 17, and Hasselblad 500 Why Can't Anyone Repair the Hasselblad XPan? / Unrepairable Cameras Paul Doesn't Know what Neon Genesis Evangelion Is Anthony and Paul Trade a Leica M2 for a Rolleiflex 3.5F Gabe Talks About Losing His House and Entire Camera Collection in the LA Wild Fires Limiting a Collection to 30 Cameras / Olympus Pen FT Jeff Handles an Ilford Witness / Anthony Much Prefers the Bell & Howell Foton Is there any Alpa Heritage in Bolex Cameras? / Kern Lenses / Kilfitt Makro Kilar Lenses Mike and Jeff Both See the World in 40mm / The Konica AR 40mm f/1.8 Lens is the Best Value in 40mm The Original Alpa Reflex is a Hybrid SLR and a Rangefinder Mike Had an M42 Alpa Lens with No Body So He Bought an Alpa Si2000 / Chinon CE-II Memotron Jeff's Rhapsody for the Alpa 11si / The Weirdest Motor Drive Ever / Engraved Cameras Jeff Goes to Paris Fashion Shows / Cincinnati Camera Show Update / Sydney Show Update Anthony Picks Up a Fuji GS645W Professional / Fuji's Barcode Film System More Recap of the Cincinnati Show Stephen Gets a Pentax 110 Auto / Theo Gets a Light Meter that Measures in Foot Lamberts Jeff Wants to Get a Pentax MX / He Has a Medical Camera Called the Pentax MF Jeff Also Got a Zeiss Taxona and a Mamiya Sketch Mike Picks Up a Minolta 35 Model IIB and an Original Argus C with the F/S Switch Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Jeff Greenstein and Gabe Sachs - I Dream of Cameras - https://www.idreamofcameras.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

The Stupid History of the Minolta XE-5 CameraBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-stupid-history-minute--4965707/support.

RADIO.D59B / ILLES BALEARS #5 w/ Minolta by RADIO.D59B

Mi primera sesión en analógico con la Minolta X700 fue una experiencia que no te puedes perder. Después de más de 10 años sin disparar en película, decidí volver al mundo de la fotografía analógica con esta legendaria cámara y experimentar con un retrato beauty en estudio. En este video, te muestro todo el proceso: desde la configuración de la iluminación, el uso de película, los ajustes de la Minolta X700 y, por supuesto, los resultados finales revelados.Si alguna vez te has preguntado si vale la pena volver al analógico o si puedes lograr retratos profesionales sin una cámara digital, este video es para ti. Analizamos cada paso, comparto mis aprendizajes y te muestro imágenes impactantes que te harán reconsiderar la fotografía en película.No olvides suscribirte para más contenido sobre fotografía y seguirme en Instagram para ver más de mi trabajo. ¡Y recuerda, nunca pero nunca dejes de hacer fotos!

A topic that we've lightly touched upon in previous episode, but never dared devote an entire episode to is the taboo subject of repairing your own cameras.  There are those who firmly believe all repairs should be left to the capable hands of professionals, but there are others who have no problem with opening their own cameras and trying it out themselves. If you're in the latter group and are interested to hear some tips and tricks from those of us who have been brave/foolish enough to try it, Episode 89 is all about repairing your own cameras.  Joining Paul, Stephen, Theo, and Mike are returning callers A.J. Gentile, Alyssa Micha, Andrew Reynolds, Christopher Wells, John Michael Mendizza, Keir Frei, Larry Effler, Pat Casey, Rafael Espinoza, Ray Nason, Wayne Scheipers, and Will Pinkham who all share their own experiences. We cover a wide range of topics, starting with what you can and cannot repair on a Kodak Medalist and whether you can still send your Leicas to the factory in Wetzlar to get repaired.  Hear who we think makes a good set of JIS screwdrivers, lens spanners, and Mike recommends a rubber grippy tool.  We share our recommendations for cleaning cameras, getting sticky residue off film doors, replacing mirror bumpers and foam light seals, how not to clean a reflex mirror, what works on lenses and what not to use.  We even cover the taboo topic of washing your camera in the dishwasher! Although there is very little GAS in this episode, we do get into a few model specific camera repairs.  Alyssa Micha shares with us her beautiful 1903 Kodak camera which had moldy bellows and what she needed to do to replace them.  We talk about how to and how not to fix the infamous Canon Squeal of the Canon AE-1 and A-1 cameras, along with how to deal with the sticky backs of the Nikon N80 and N90, Mike talks about a product he used to mold a custom hand grip for his Minolta 650si. We talk about various cleaners, when and when not to use lighter fluid, acetone, glass cleaner, and for the love of God, please never use WD-40 on any camera!  Although this whole episode is about home repairs and cleaning, we end the show talking about how best to take care of your camera to minimize its chances of never needing to be repaired, how to deal with humidity, and whether or not to store your cameras in their original leather cases. Meet Anthony, Paul, and Mike: If you are in the vicinity of Cincinnati, Ohio on Saturday, March 22nd, come to the Ohio Camera Swap at the Hilton Garden Inn Cincinnati/West Chester and say hi to us.  Who knows, maybe even some other Camerosity Podcast regulars will show up as well.  While you're there, maybe you can buy something from us! As always, the topics we discuss on the Camerosity Podcast are influenced by you!  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. Our next episode will be number 90, and like we've done for episodes 70 and 80, we will be devoting the show to cameras of that decade.  For Episode 90, we will discuss cameras of the 1990s (or 1890s for that matter)!  Finally, Theo will get a chance to talk about his beloved Mamiya 7, but in addition to that there were many other terrific cameras from that decade like the Nikon N90s and the premium 28Ti and 35Ti point and shoots, the Contax AX, and the Olympus µ[mju:]-II.  In addition to terrific film cameras, the 1990s was the first decade with a large number of digital cameras like the Minolta RD-175 and Nikon D1.  We will record Episode 90 on Monday, March 24th at 7pm Central Daylight Time and 8pm Eastern Daylight Time. (Note that Daylight Savings Time started in North America on Sunday, March 9th, so be sure to check your local time if you plan on joining the show!) In This Episode Disclaimer: A Proper CLA is Always the Best Way to Get Your Camera Working / Technicians for Some Models Are Retiring You Don't Have to Use The Most Popular Technicians to Repair Leicas / Does Leitz in Wetzlar Still CLA Cameras? Larry Wants to Repair His Kodak Medalist / Mike Offers Tips on Cleaning the Medalist Rangefinder Rerolling 620 / Larry Reload 828 Film Using Unperforated 35mm Film 3D Printing Battery Holders for Nikon SLRs / 3D Printing for Analog Photography Facebook Group Cleaning Corroded Battery Compartments / Removing Stuck Pentax Spotmatic Battery Compartment Covers Eyeglass Screwdrivers Are Not Good Enough / Japanese Cameras Use JIS Screws Get Good Spanners / SK Grimes Spanners Are Very Good / Micro-Tools Mike Recommends Getting a Set of Rubber Grips for Removing Lens Rings How to Remove Stuck Filters Due to a Damaged Filter Ring How Do You Know Whether You Should Fix It or Live With It? Beware of Sellers Claiming a Camera Was CLAd If They Did It Themselves Repairing the Canon AE-1 / Canon Squeaky Shutters / Never Use WD-40! Using Ronsonol and Lighter Fluid / Naphtha Oil Use Caution When Cleaning a Reflex Mirror / What is a Front Surface Mirror? / ROR Solution Replacing Light Seals is a Good DIY Repair / Mirror Bumpers Do Not Shoot a Camera with Compromised Light Seals / Cleaning the Old Stuff Out First Are PEC Pads Recommended for Cleaning Cameras? / Kimwipes and Baby Wipes A Old Toothbrush and a Tiny Drop of Soap is Good for Cleaning Crevasses and other Tight Spots Cleaning and Conditioning Rubber Grips on Lenses / Shrinking Rubber Grips Cleaning Sticky Rubber Surfaces / The Nikon N80 and N90 Have Horribly Sticky Backs Making a Hand Grip for a Minolta 650si Using Sugru How Do You Know When a Shutter Needs to Be Serviced? Beware of Self-Timers on Old Cameras / What does "V" Mean on German Shutters? Tips for Keeping Your Camera Working / Use It / Remove the Batteries Controlling Humidity / Using Silica Gel Packets and Desiccants / Damp Rid Getting Rid of Ever Ready Cases / Are There Any Cases Worth Saving? An Easier to Remember Join Link - join.camerositypodcast.com Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

We are back with the first new episode of 2025!  The Camerosity crew hopes you had a good start to the new year.  Unfortunately, the episode we had planned to have Jeff and Gabe from the I Dream of Cameras podcast had to be postponed due to the wildfires in Los Angeles.  Instead, we went to the Camerosity mailbox (aka Facebook) and did an episode about square format cameras.  We had intended to cover all cameras that shoot square format, but found so much to talk about with 35mm and 127, we didn't have much time for 120 6x6 cameras, so we can save that for a future show! Whenever you talk about square format 35mm, one of the more popular ones for collectors is the Zeiss-Ikon Tenax II, and whenever you mention the Tenax II, the Wes Loder's "Spidey Sense" starts tingling, so we were happy to welcome back Michael Wescott Loder for the first time since Episode 74! Joining Wes, Anthony, Paul, Theo, and Mike on this episode were A.J. Gentile, Ira Cohen, Miles Libak, Mina Saleeb, Robert Coates, and Will Pinkham where they all shared their favorite square format cameras. We attempt to start off the list of square format cameras in alphabetical order with the Altix and quickly move into the Berning Robot and Bilora Radix, but our plan quickly goes off the rails as we jump around the alphabet with cameras like the Akarette (which isn't even square format), Metz Mecaflex, Yashica 44, and the Purma Special.  We also cover the popularity of square format Rapid film cameras from Japan like the Minolta 24 Rapid, Canon Dial Rapid, and Fujica Rapid S2. One of the more sought after square format cameras is the Mamiya Sketch, a camera that Mike has previously reviewed, but Theo desperately wants to acquire to round out his Mamiya collection. Mike shares his tips on rolling your own 127 film using bulk 46mm film, and Will asks for recommendations on affordable entries into square format 35mm.  Although the group is initially stumped, Mike comes up with an off the wall solution that is quite affordable! As always, the topics we discuss on the Camerosity Podcast are influenced by you! Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are into shooting or collecting cameras, no matter how long you've been doing it, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, the Camerosity Discord server, and right here on mikeeckman.com. We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we are excited to revisit a topic that we love to talk about, Camera Auctions, specifically high dollar auctions.  Our special guest for the next episode will be Jo Geier from Wetzlar Camera Auctions.  In addition to Jo, we will be welcoming back Dan Tamarkin from Tamarkin Auctions in Chicago.  In order to accommodate Jo's time zone, this will be a "European Friendly Time Zone" episode.  We will record Episode 85 on Monday, January 27th at 1pm Central Standard Time, 2pm Eastern Standard Time, 7pm Greenwich Mean Time, and 8pm Central European Time.  For Theo, and those of you in Australia, this will be very early in the morning on Tuesday the 28th.  Please check your favorite time zone calculator to find out the exact time in your region if you'd like to participate. In This Episode Square Cameras Come in All Format / Using TLRs Over Your Head or Around Walls Eho-Altissa Altix / Altix I Through III Shoot 24mm x 24mm Berning Robots / 90 Degree Viewfinder / Robot Junior Large Wind Knob Robots / Loading a Robot Camera / Accidental Redscale Surprise Anthony and West Love the Zeiss-Ikon Tenax II  Lenses Used by the Navy Required Lens Coatings 35mm Square Format Was Driven by the Technology of the Time Aka Akarette / AGFA Square Format Cameras Usually Shot Rapid Film Japanese Rapid Cameras / Fujica Rapid S2 / Minolta 24 Rapid / Canon Dial Rapid AGFA Karat Film and Bilora Radix Cameras Japanese Bolta Cameras / Sida Extra and Bolta Photavit The Mamiya Sketch is a Sought After Square Format Camera Metz Mecaflex is the only 24mm x 24mm SLR Quite a Few 127 TLRs Shoot 4x4 / Many Called Baby or '44' Cameras Yashica 44 / Adapting to Use 35mm Film Purma Special Shoots 4x4 and has a Gravity Shutter Kodak Vest Pocket / Other Vest Pocket Cameras Super Flex Baby / Karmaflex / There Were a Lot of Japanese 4x4 Cameras Bencini Comet 44 / Czech Kola Camera The Doris 3a probably had a 1a and a 2a / Diana Mini Super Slides Were Popular For a While / Reloading 127 with 46mm Bulk Film Photo Labs Hated Non-Standard Film Formats Chroma Cube / Stereo Cameras are a Cost Effective Way to Shoot Square Format 35mm Links The Camerosity Podcast is now on Discord! Join Anthony, Paul, Theo, and Mike on our very own Discord Server. Share your GAS and photography with other listeners in the Lounge or in our dedicated forums. If you have questions for myself or the other guys, we have an “Ask the Hosts” section as well where you can get your question answered on a future show! Check it out! https://discord.gg/PZVN2VBJvm. The Camerosity Podcast is now on BlueSky @camerosity.bsky.social.  This modern, and clean replacement for Twitter is a nice alternative to cluttered social networks out there.  Follow us there for show announcements and other content. If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group, Instagram page, or Discord server. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris - https://thisoldcamera.net/ Anthony Rue - https://www.instagram.com/kino_pravda/

The Shutter Brothers are back with their last show of 2024! Wayne and Kevn recap their 2024 Photowalk with the Shutter Brothers, dive into some darkroom tips, discuss some holiday photography ideas, and read some listener email. Thanks for listening, and Happy Photography!

Episode 335 - December 15, 2024 - In this episode the FPP gang discusses the Minolta SRT line of cameras, the Pentax KX camera and using vintage selenium light meters.

Descubre la cámara analógica que ha conquistado el corazón de muchos fotógrafos apasionados: la Minolta X-700. En este video, exploraremos las características y ventajas de esta cámara réflex analógica para la fotografía de estudio y exteriores. La Minolta X-700 es conocida por su sistema de enfoque rápido y preciso, así como por su capacidad para capturar imágenes con una gran profundidad y riqueza de detalles. Si eres un amante de la fotografía nostálgica y clásica, no te pierdas esta oportunidad de conocer la Minolta X-700, una cámara que ha inspirado a muchos fotógrafos a explorar el mundo de la fotografía analógica. La experiencia de usar una cámara réflex analógica como la Minolta X-700 es única y emocionante, y en este video te mostraremos por qué. ¡Así que prepárate para disfrutar de una experiencia analógica auténtica y emocionante con la Minolta X-700!

Film Photography Podcast - Episode 332 - October 30, 2024 - Michael Raso & John Fedele announce the upcoming November 8th Beers & Cameras Ohio meetup at Brewing Green hosted by the FPP crew and Trev Lee from The Darkroom. There will be some exciting giveaways, including FPP-branded film, three Minolta cameras, and a special Kodak Tri-X 400 giveaway in honor of its 70th anniversary. Limited tickets are available, so secure your spot soon! Sign up - https://www.eventbrite.com/e/fpp-beers-cameras-at-brewing-green-tickets-1063339760849

**Exciting News!** Join us for a special live stream event as we welcome back the legendary **John Callas**! He'll be sharing updates on his latest books, insights from his incredible career, and much more while chatting with the amazing **Miss Liz**! **Date:** September 23rd **Time:** 7 PM EST **Where:** Live on https://youtube.com/@misslizsteatimes?si=Vdguz-fRJkeKms8D**About John Callas:** John Callas is a 50-year veteran writer/director/producer in the entertainment business. His experience ranges from the worldwide release of feature films to numerous motion picture trailers, national and international commercials, live-action title sequences, a documentary shot on location in Russia, as well as having been the Worldwide VP for The Walt Disney Company while working at a large post-production facility. John wrote and directed the feature film “No Solicitors” starring Eric Roberts and has adapted NY Times bestselling book, “Lightning Strikes Twice,” and “Ageless.” John is a published author of SECRETS, WHEN THE RAIN STOPS, CHRISTMAS VOICES, THE MYTH, NO SOLICITORS, AND FIRST TIME PARENTS SURVIVAL GUIDE TO UNNECESSARY AND WILD SPENDING. NBC, FOX, CBS, Good Morning America, and Yahoo have featured John!, The Dr. Ward Bond Show, Kathy Andersen, Stop Depression Summit, Audible.com, iHeart.com, Bostonherald.com, Chicago Daily Herald, Pittsburg Post-Gazette, The San Diego Union-Tribune, The Milwaukee Journal Sentinel, Occidental College, and more. John's prowess can be seen on live-action teasers for Ransom, Dennis The Menace, Body Of Evidence, and The Golden. Child, Spaceballs, The Glass Menagerie, Cocoon II, Poltergeist III, Betrayed, My Girl, Glengarry Glen Ross, title sequences For The Two Jakes and A Few Good Men and a promotional film for an amusement ride from Showscan. John also directed an award-winning short film, THE WHITE GORILLA. John worked with notable actors, including Mel Gibson, Walter Matthau, Jack Nicholson, Madonna, Eddie Murphy, Howie Mandel, and Mel Brooks. In addition to working on feature film teasers, his work can be seen in projects for HBO, The Disney Channel, Show Time, the Broadway Play Phantom of The Opera, and the 1993 redesigned TRISTAR LOGO. John's extensive background also includes over 200 commercials for such clients as Kellogg's, Dodge, Sunkist, Sprite, Toyota, Fuji, Volkswagen, Honda, McDonalds, Mazda, Minolta, Jedi Merchandising, Kraft, Jordache, Sea World, Givenchy and Sonassage with celebrity George Burns and industrial projects for Corporations, including Vidal Sassoon, Salomon North America, Nissan and The Kao Corporation of Japan. John's television experience includes directing a 14-week series entitled Potentials, with guests Buckminster Fuller, Norman Cousins, Ray Bradbury, Gene Roddenberry, Timothy Leary, and others. He also directed 80 segments for Bobby's World rated the #1 show on Fox 11 Television in its time slot, garnering John an Emmy nomination. A multi-faceted filmmaker, John's work can be seen in music videos for Glenn Frey Of The Eagles, Bill Wyman Of The Rolling Stones, Jefferson Starship, Sammy Hagar, Rick Springfield, Doobie Brothers, Styx, and more. John has been recognized with An EMMY nomination for Bobby's World, THE NEW YORK CRITICS CHOICE AWARD for Lone Wolf, BEST FEATURE at Fright Night Festival & BEST DIRECTOR at Scar A Con festival for No Solicitors - Several awards for his short THE WHITE GORILLA, A CLIO and BELDING for his work on the Sunkist campaign, BEST OF THE WEST for directorial work on a one-woman show and an MTV AWARD FOR BEST CONCEPT for Glen Frey's Smuggler's Blues. John holds a Master's Degree from Occidental College and is a member of The Directors Guild of America. **Get ready for:** Book reveals Behind-the-scenes stories Q&A session **Engage with Us!** Share your questions for John in the comments! Use the hashtag **#JohnCallasLive** to join the conversation on social media. Like and share this post to spread the word! Let's celebrate creativity and inspiration together! #Author #Filmmaker #Entertainment #LiveStream #Books #JohnCallas #MissLiz #Storytelling #CreativeCommunity

A fun Monday crossword by Desirée Penner and Jeff Sinnock, who are about as persistent a crossword constructing duo as you'll ever meet: their first crossword (this is their second) took 123 tries before they got it published in the NYTimes. Talk about grit! Today's crossword is quite colorful, and, once you solve the crossword, we mean that literally: the themed answers get redrawn in the style of a comic book, with fonts and colors that look like they came right off of a DC or MARVEL artist's drawing board. We have more to say on today's podcast, so have a listen, and as usual, let us know what you think!Show note imagery: MINOLTA, a camera of a bygone era.Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

RADIO.D59B / ILLES BALEARS #4 w/ Minolta by RADIO.D59B

We want people to listen to our show. To get them to listen we need to get them to click. To get them to click we need to convince them that they will BENEFIT from listening to your show.  Too often, we explain a feature and not the benefit.  When I was a copier technician I serviced Minolta copiers that had "micro-toner," which was a feature. The benefit was clearer and sharper pictures.  So many times we let our audience know that Tuesday is Tough Love Tuesdays, and Friday are Free For All Fridays Think of it this way, Do you care what box your next Amazon shipment comes in? No, you just want the product to be good. We don't care how it's packaged.  So when you're trying to get people to click, quit leading with these types of “features” and instead lead with the benefits of listening to your show.  Understanding Features  A feature is an attribute or functionality of a product or service. It's what a product does or the use it has. Understanding Benefits A benefit is how a product or service can improve or add value to a customer's life. Benefits answer the question, "What can this product or service do for me?" for consumers. In marketing, it's helpful to describe how a product or service can solve an audience's particular problems. For example, a feature of an oven is that it can fully heat up in five minutes. The benefit of this feature is that it allows you to cook a meal quickly. One-on-one coaching is a feature of the School of Podcasting. The benefit is there can be a bit more accountability and it is less public for those that are shy.  “Insulated” is the feature of a mug. The benefit is it keeps the hot stuff hot, and the cold stay cold. READY TO START YOUR PODCAST? When you join the School of Podcasting you get: Step-by-step tutorials A private podcast mastermind filled with brilliant podcasters Unlimited one-on-one consulting (not a typo) A 30-day money-back guarantee Join today at www.schoolofpodcasting.com/consultant Follow the Show and Never Miss an Episode Apple - Spotify - Pocket Casts - Amazon Music  Mentioned In This Episode Tom Webster Article on Explaining Podcasting  

RADIO.D59B / ILLES BALEARS #3 w/ Minolta by RADIO.D59B

Leica Fotograf Christian Rapp ist der heutige Gast im Leica Enthusiast Podcast. Er erzählt von seiner Geschichte, die mit Minolta begonnen hatte und nun bei einer Leica Sammlung IIIc, M3, M4, M6, M7 geendet ist - oder auch noch nicht zu Ende ist.....Dies ist eine 2. Veröffentlichung, da es beim ersten Versuch technische Probleme mit dem Ton gab.. Die Endkontrolle der letzten Variante war leider nicht ausreichend genug.

Throughout its history, Nikon cameras have been primarily aimed at the professional market, from their stunning rangefinders in the S-Range to the original Nikon F and beyond. However, the mid-century and post-war economic boom brought a new group of photographers, the advanced consumer. Now, hobbyist photographers have always been around. These new photographers want access to the same quality cameras and optics as the professionals. And while Canon and Minolta were certainly starting to fill that gap, Nikon wanted a piece of the action. While their initial offerings under the Nikkorex line fell flat, save the Nikkorex F, it was their second attempt, the Nikkormat or Nikkomat line of SLRs, that proved to be successful. And these lovely cameras make for an excellent addition to any Nikon photographer. What set these cameras apart is that Nikon went with the Copal Square shutter for each camera, starting with the Nikkorex F rather than building in-house shutters. Also, the Nikkormat EL is the first Nikon camera with a semi-automatic exposure system. Overall, the Nikkormat line was replaced by the small-form-factor SLRs of the FM and the FE. Nikkormat FT (1965) - The Original Nikkormat body that featured a full F-Mount (Pre-AI) and a metered prisim using the same metering technology as the Nikon Photomic T metering head. Nikkormat FS (1965) - An unmetered version of the Nikkormat FT. Nikkormat FTn (1967) - An improved version of the Nikkormat FT, it now uses a classic 60/40 center-weighted metering. An improved match needle display in the viewfinder. The FTn underwent a number of changes over the course of the camera's production that lasted for nearly a decade. Nikkormat EL (1972) - Uses a CdS meter cell and provides semi-automatic aperture priority auto-exposure. Nikkormat FT2 (1975) - Rolled all the improvements of the FTn into a single camera, and changed the power source from a mercury cell to a silver oxide cell. Nikkormat ELW (1975) - Basically the same camera as the EL, but added the contacts for the AW-1 autowinder. Nikkormat FT3 (1977) - Basically took everything from the FT2, but updated the mount to accept the new AI lenses natively. Nikon EL2 (1977) - An improved ELW, with a SPD metering cell, AI lens support (native).

Disclaimer: I do not own the rights to the music except for Miss Liz's Intro. This teatime is for educational purposes and not for financial gain. Opening the Discussion with global guests that impact lives, families and communities with their work services programs, books and missions. Morning teatime November 9th, 10 Am EST Joining Miss Liz for T-E-A is the veteran writer-director-producer John Callas coming to share his personal story on living in the ghetto with abuse and being a leading role in the Hollywood entertainment industry. His book “When The Rain Stops” Join us, and let's make a difference together. John CallasLIVE STREAMING TO MULTIPLE PLATFORMS AND PODCAST STATIONS AND APPS. Live show on Miss Liz's YouTube channel below. Please give it a quick subscription and be notified when teatime is live. https://youtube.com/@misslizsteatimes?si=Q-jDZyTLDlPaNDyiJohn Callas is a veteran writer/director/producer in the entertainment business. His experience ranges from the worldwide release of feature films to numerous motion picture trailers, national and international commercials, live-action title sequences, and a documentary shot on location in Russia, and he has been the Worldwide VP for The Walt Disney Company while working at a large post-production facility. John wrote and directed the feature film “No Solicitors” starring Eric Roberts and has adapted the NY Times bestselling book, “Lightning Strikes Twice.” John is a published author of SECRETS WHEN THE RAIN STOPS, CHRISTMAS VOICES, THE MYTH, NO SOLICITORS, AND FIRST TIME PARENTS SURVIVAL GUIDE TO UNNECESSARY AND WILD SPENDING. John's prowess can be seen on live-action teasers for Ransom, Dennis The Menace, Body Of Evidence, The Golden Child, Spaceballs, The Glass Menagerie, Cocoon II, Poltergeist III, Betrayed, My Girl, Glengarry Glen Ross, title sequences For The Two Jakes and A Few Good Men and a promotional film for an amusement ride from Showscan. John also directed an award-winning short film, THE WHITE GORILLA. John worked with notable actors, including Mel Gibson, Walter Matthau, Jack Nicholson, Madonna, Eddie Murphy, Howie Mandel, and Mel Brooks. In addition to working on feature film teasers, his work can be seen in projects for HBO, The Disney Channel, Show Time, the Broadway Play Phantom of The Opera, and the 1993 redesigned TRISTAR LOGO. John's extensive background also includes over 200 commercials for such clients as Kellogg's, Dodge, Sunkist, Sprite, Toyota, Fuji, Volkswagen, Honda, McDonald's, Mazda, Minolta, Jedi Merchandising, Kraft, Jordache, Sea World, Givenchy, and Sonassage with celebrity George Burns and industrial projects for Corporations including Vidal Sassoon, Salomon North America, Nissan and The Kao Corporation of Japan. John's television experience includes directing a 14-week series entitled Potentials, with guests Buckminster Fuller, Norman Cousins, Ray Bradbury, Gene Roddenberry, Timothy Leary, and others. He also ran 80 segments for Bobby's World, rated the #1 show on Fox 11 Television in its time slot, garnering John an Emmy nomination. A multi-faceted filmmaker, John's work can be seen in music videos for Glenn Frey Of The Eagles, Bill Wyman Of The Rolling Stones, Jefferson Starship, Sammy Hagar, Rick Springfield, Doobie Brothers, Styx, and more. John has been recognized with An EMMY nomination for Bobby's World, THE NEW YORK CRITICS CHOICE AWARD for Lone Wolf, BEST FEATURE at Fright Night Festival & BEST DIRECTOR at Scar A Con Festival for No Solicitors - Several awards for his short THE WHITE GORILLA, A CLIO and BELDING for his work on the Sunkist campaign, BEST OF THE WEST for directorial work on a one-woman show, and an MTV AWARD FOR BEST CONCEPT for Glen Frey's Smuggler's Blues.John holds a Master's Degree from Occidental College and is a member of The Directors Guild of America.www.Johncallas.com

RADIO.D59B / ILLES BALEARS #2 w/ Minolta by RADIO.D59B

RADIO.D59B / ILLES BALEARS #1 w/ Minolta by RADIO.D59B

Yelena Yemchuk's output as a visual artist is immediately recognizable, regardless of medium. Born in Kyiv, Ukraine, Yelena immigrated to the United States with her parents when she was eleven. She became interested in photography when her father gave her a 35mm Minolta camera for her fourteenth birthday.Yelena went on to study art at Parsons in New York and photography at Art Center in Pasadena. Yelena has exhibited paintings, films and photography at galleries and museums worldwide. She has shot for the New Yorker, New York Times, Another, ID, Vogue, and others.Yelena released her first book Gidropark, published by Damiani in April 2011, followed by Anna Maria, published by United Vagabonds in September 2017. Yelena had her first institutional debut with her project Mabel, Betty & Bette, a photography and video work at the Dallas Contemporary Museum. A monograph with the same title was released by Kominek Books in March 2021. Her newest book Odesa was released in May 2022, by Gost Books.In episode 211, Yelena discusses, among other things:The relevance of her book to the current warThe “immigrant parent bullshit story”Moving to New YorkThe influence of her uncle and her dad's best friendDiscovering her calling at art school doing photographyHer early career success, including working with Smashing PumpkinsReturning to Ukraine in 1990Gidropark projectDeciding to focus on her personal workMabel, Betty & BetteYYY, published by Depart pour l'imageOdessa being “love at first sight”Deciding to focus on the youthForthcoming book, Milanka“It was very clear to me that I needed to tell the story of these people. Not just the cadets, but the story of the people in Odesa. And it was like an urgency. I wanted to go back all the time. If i didn't have kids I probably would have just stayed there. I couldn't get enough… I was going back and forth. I couldn't stop. I had to tell this story. I had to shoot these people. It was like a romance. It was like I had a lover over there.”

Film photography is SO MUCH FUN, but when you're first wanting to dip your toes in the developer (ha, film joke) then it can be a little scary! Now sure where to start? This episode is a great place! I give you advice as far as what cameras to buy, what film to use, where to get them developed, and more! The cameras talked about in this podcast are the Canon Sure Shot, Canon Elan 7, Canon AE-1, Pentax K1000, Olympus, and Minolta brands. Buy My Favorite Film! Places to get your film developed: The Darkroom Southbound Film Lab Reformed Film Lab Richard Photo Lab Indie Film Lab To protect and organize your film: Use these negative sleeves. Store your negatives in this binder. Clean your negatives with this rocket blaster. ⁠Snag my presets!⁠ http://education.cayleighely.com/product-tn-sunset-presets ------------------------ Where you can find me: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠: ⁠⁠⁠@cayleighelyphotography ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tik Tok:⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠@cayleighelyphotography ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Website:⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠https://cayleighely.com/ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mentorships with me:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ http://education.cayleighely.com/mentorships ⁠⁠⁠Join my Private Facebook Group here!:⁠⁠⁠ https://www.facebook.com/groups/cayleighskillacrew --- Support this podcast: https://podcasters.spotify.com/pod/show/clearlyfocused/support

We've covered a lot of gear on this podcast before.  Some cameras are ones that flew under the radar that deserved some recognition as something worth checking out, others were less common models in which a bit more effort (and cost) were required to add to a collection, but then there's a level of camera in which no amount of money or effort will result in one coming your way.  These are the Unobtanium cameras, models which are so expensive, or so hard to find, that even the most experienced of collectors don't have them. Joining Anthony, Theo, Paul, and Mike on this episode dedicated to the hardest cameras to find are some people who have found some of the hardest cameras to find, Ira Cohen, Ray Nason, Robert Rotoloni, Patrick Rapps, Rudi Berden, and James Thorpe.  Each of these guys has at least one camera that for most people would quality as unobtanium.  How they came across each model varies, but nevertheless, represent some of the coolest and hardest to find cameras ever made. As we did in the last episode, we start off this one with a question, asking our guests to define what exactly qualifies as unobtanium.  As you might expert, rarity and cost are definitely prerequisites, but what about functionality or provenance?  Does a camera that's very difficult to find in working order or a camera formerly owned by the Beatles still qualify as unobtanium.  In addition to rare cameras, lenses and accessories can qualify too, so we get into some extras that are really hard to find as well. If you were to break down types of unobtanium cameras, one that would be the hardest of the hardest to find would be prototypes, so in this episode we spend time talking about some of the coolest prototypes including two interchangeable lens rangefinders made by Minolta and Konica, but also Robert Rotoloni goes DEEP into the rabbit hole of prototype Nikon rangefinder cameras and lenses.  If you thought the Nikon SP was the most advanced 35mm rangefinder the company ever made, think again as there were two others. The rest of the episode is all over the place, discussing rare cameras by Ilford, Argus, Wica, Premier Instrument Corp, and LeCoultre.  We are quite certain that we missed some other rare and otherwise difficult to find cameras, but as always, the topics we discuss on the Camerosity Podcast are influenced by you!  We would love to hear from more listeners, especially those who are new to shooting film or collecting cameras.  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are new to shooting and are interested in having an episode dedicated to people new to the hobby, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, and right here on mikeeckman.com.  We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. As we did last year, we're taking the entire month of August off to relax, soak in some sun, and maybe even catch up on shooting all of the cool cameras we've all picked up in the past year so we will not be back with Episode 54 until September.  The guys and I will still be active on the Camerosity Facebook page, so keep in touch with us there, and once we have an idea of when we'll record the next episode, and what possible topics we might discuss, we'll be sure to let you know! This Week's Episode How Do You Define "Unobtanium" / Rarity, Expensive, or Something Else? / Unobtanium Lenses Cameras Not Known to Be Very Reliable: Kodak Ektra, Hasselblad XPan, Graflex 3A Rudi Berden Reviews the Kodak Ektra / Leaving Notes in the Film Compartment Cameras that Have Provenance or Were Owned by Someone Famous Mike is Collecting Cameras Owned by Other Collectors Before the Internet, Finding Rare Cameras Was Extremely Difficult / Paul Finds a Leica Luxus Walter Dorwin Teague No. 1A Gift Camera Cameras that Have Cross Appeal to Different Collectors, The Price Goes Up Dramatically / Mickey Mouse Cameras Paul Handled 80 Boxes with 640 Cameras in Them in One Day / Graflex Combat Graphic Kodak Bantam Special in Original Box / Versions with Supermatic and Compur Shutters / Using the Bantam Special Nippon Kogaku Almost Made a TLR, Two Prototypes Were Known to Exist Other Companies Made Cameras with Nikkor Lenses / Aires Flex TLR / Sawyer's Mark IV / Mamiya Six Minolta Sky Prototype / Konica FR Rangefinder Prototype Andrew Lloyd MPP Press Camera / Robot Royal 18 Half Frame Camera It is Very Difficult to Assign Value to Extremely Rare Cameras Konica IIIM with Half-Frame Mask / Unobtanium Accessories / Getting a Pax 35 To Work is Not Easy Patrick's Strange Okaya Lord 5D / Rudi Reviews the Super Kodak Six-20 Digital Unobtanium / Epson R-D1 Digital Rangefinder Ira Cohen's Most Wanted Camera / Mike Helps Ira Buy a One of a Kind Camera / Lausar 127 James Thorpe's Unobtanium is a Zecaflex Folding TLR / Welta Superfekta / Zeiss-Ikon Contaflex TLR The LeCoultre Compass is a Very Unobtanium Camera...Except for Ira Bob's Nikon Rarities - Follow Along The Rotoloni Report 4: Nikon Rangefinder Prototypes 50mm f/1.8 Nikkor RF Lenses / 35mm f/1.4 RF Lens / Nikkor-O 50mm f/1.0 Nikon Screw Mount RFs / Nikon SPX / Nikon SP2 / The Original Nikon Rangefinder Paul and Mike Are Cornering the Market on Lens Hoods and Lens Adapters Ilford Witness / The Melcon II Looks like a Nikon Rangefinder / Wica Rangefinder Mike's Recent Unobtanium GAS / Military Kardon / Argus K Unobtanium Accessories / Some Unobtanium is More Difficult to Find in Other Countries Cameras That Are Opposite of Unobtamium Argus Brick / Kodak Vest Pocket / Voigtländer Brilliant / Pentax K1000 / Canon AE-1 / Big Royal View Trashcam / Yashica Electro 35 Anthony Shoots a Pentax Takumar 18mm f/11 Pancake Lens / Theo Won't Buy a Contax T2 Paul and the Americana Folk Music Gathering in Scottsdale, Arizona Links If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Americana Folk Music Gathering - https://americanafolkgathering.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

In Episode № 57 of I Dream of Cameras, we mind our P's — Minolta's little-known pocket XPan killer — and Q's — diving into a particularly prodigious mailbag. Also, Gabe's gone digicam kray-zee, and Jeff's still obsessed with that Nikon Year of the Dog camera. Tune in for all the chitter-chatter!Cameras of 1966:The troublesome but alluring Rolleiflex SL66The unreleased yet tantalizing Pentax 220The well-named Petri RacerGabe's recent acquisitions — he's a digicam hipster!Nikon Coolpix S1000pj with built-in projectorNikon D700Nikon Coolpix P7000Jeff's thoroughly besotted with the delightful panoramic point-and-shoot Minolta P's — it leaves the tab out when rewinding! And it comes in four other colors, red, blue, green and black — does he need 'em?Olympus Stylus, mirrored chrome edition — are these special finishes worth the premium?Revisiting the Nikon FM2/T Year of the Dog camera — the price continues to plummet, but the dog looks like the dogecoin Shiba Inu, so does that ruin it?Gabe's recent use of the Leica M6 on the WGA picket line reminded him how nice it is to use a lighter, less bulky cameraeBay annoyances, suspicious sellers…and our super-prodigious mailbag!

In the history of the 20th century photo industry, there have been countless cameras made by countless companies from countless countries.  Of all those cameras, one subset of film photography seems to appeal to a larger number than most, the 35mm half-frame camera.  Originally the only size for still photography on 35mm film, single frame fell out of favor after World War II, but saw a huge resurgence in the 1960s with half-frame models being released by nearly every company who made cameras. In this, the 49th episode of the Camerosity Podcast, Anthony, Theo, Paul, and Mike welcome first time and returning callers, Ray Nason, Brian Howard, Phil C., Keir Frei, Maxwell Whitaker, Richard Diver, Roger Coats, and Sean Mahan to share with us their favorite half-frame models. Mike can't help himself and gives a brief (for him) history of half-frame and why it was originally called 'single frame', we ponder what exactly qualifies as half-frame, should 4.5cm x 6cm medium format or 24mm x 24mm square format cameras count? A huge amount of time is spent on the Olympus Pen series and a huge number of 35mm half-frame models by Ricoh, Konica, Yashica, Ansco, Minolta, Pentacon, Canon, Taron, Petri, and others. As is the case with many episodes, we get off topic a bit and venture into square frame 35mm with the likes of the Berning Robot, Zeiss-Ikon Tenax, and Bolta Photavit cameras.  Of course we come back, only to get off topic again talking about Rapid and Karat film cassettes.  We start on a slippery slope of what Gen Z looks for in photography today and briefly touch upon why anyone would want to shoot the new Kodak H35 and similar cameras. As always, the topics we discuss on the Camerosity Podcast are influenced by you!  We would love to hear from more listeners, especially those who are new to shooting film or collecting cameras.  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are new to shooting and are interested in having an episode dedicated to people new to the hobby, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, and right here on mikeeckman.com.  We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. It is hard to believe, but the next episode of the Camerosity Podcast will be our 50th!  Way back in 2021, there was this crazy idea to create a Podcast in the style of an AM/FM Radio Talk Show in which listeners could call in during a live recording and ask questions or talk about whatever they wanted.  The first two episodes of this show were done with little more than an hour's notice and between those two episodes, spawned 47 more episodes, eventually making us not only the number one open source film photography podcast, but one of the fastest growing podcasts of any format. We are trying to put something special together for our 50th episode, but haven't yet settled on the details, or even when we will record yet.  I can tell you it will definitely be in early June, but when I know, you'll know.  Hope to see you then! This Week's Episode Anthony reminisces about cheap AGAT 18s / A brief history lesson on the origins of half-frame all the way back to Thomas Edison Anthony takes us back even further to the Lumière brothers and the Cinématographe Olympus 18 / Pen revived the half-frame market in Japan in the 1960s / Half-frame is technically Single Frame Medium format cameras, like 6x9 vs 6.45 are not considered half-frame The Univex Mercury camera has a rotary shutter and very sharp lenses / Olympus Pen F also has a rotary shutter Cynthia A. Repinski wrote a good book, The Univex Story / Mercury II Theo brings in the Ansco Memo, which uses cartridges you can make yourself Maxwell shoots his AGAT 18K a lot with enlarged prints / Canon Demi / AGFA Memo Berning Robot and Zeiss-Ikon Tenax II are square format, are they considered half-frame? Theo considers is 35mm full frame is half-frame compared to XPan format / Bolta Photavit Half-frame was hated by photo finishers and tended to have a whole year pictures on one roll / Ilford created a double length film Theo shows the AGFA Optima Parat / Mike has the AGFA Parat I Understanding all the Olympus Pen models / Olympus Pen F / Pen FT / Pen FV Double wind on a half-frame camera is strange / The Pen FT has a bespoke metering number system / EV Couplings are terrible The Olympus Pen EE and EE-S /  Pen D series with faster f/1.9 and 1.7 lenses Olympus Pen-W is well sought out, Olympus Pen-S is a great small mechanical half-frame Ricoh Auto-Half / Ricoh Drive / Italian Ducati / Konica IIIM Other Half Frame Cameras by Nikon, Pentax, and Polaroid The Pentacon Penti is a fashion accessory camera Kodak Single Use camera can give you a Rapid Cassette replacement Why was half-frame so popular in Japan? / Photography for Everyone is a good book on the rise of photography popularity in Japan How Japan became a powerhouse in photography industry The Yashica Samurai / Yashica Rapide / Yashica Sequelle / Taron Chic / Canon Dial 35 /  Ricoh Caddy Sean's AGAT 18 with a Nikkor 8mm lens attached Adapted lenses for the Pen F / Mike Loves the BeLOMO Chaika 3 Keir does not have a half-frame, but may soon! / The Fed Mikron is a copy of the Konica EYE Mamiya made a half frame with the Myrapid Half-Frame cameras which have two different taking lenses / Canon Multi-Tele / Fuji TW-3 / Konica Recorder The Lomo LC-A Wide can switch between formats The Kodak H35 and it's clone / Why do Gen Z like half-frame? Can you modify a camera to be half-frame? Original Olympus Pen made by third party and was very popular The podcast descended in chaos with a debate on what half-frame means Links If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Camerosity Twitter - https://twitter.com/CamerosityPod Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

¡Bienvenidos a un nuevo episodio de curiosidades fotográficas! En este episodio, te llevaré en un emocionante viaje a través de la historia de la fotografía, desde la primera fotografía tomada en 1826 hasta la época moderna, cuando Minolta se unió a Sony para crear las famosas cámaras Sony Alpha. Durante este recorrido, descubriremos algunas de las historias más divertidas y sorprendentes detrás de algunas de las fotografías más icónicas de todos los tiempos. ¿Sabías que el primer selfie fue tomado en 1839? Finalmente, hablaremos sobre la unión de Minolta y Sony para crear las impresionantes cámaras Sony Alpha, lo que cambió para siempre el mundo de la fotografía. Con imágenes espectaculares y narración interesante, este video te mantendrá entretenido e informado sobre la historia fascinante detrás de la fotografía. ¡No te lo pierdas! #Fotografía #HistoriaDeLaFotografía #CuriosidadesFotográficas #SonyAlpha #Minolta #CámarasFotográficas #IconosFotográficos #AnécdotasFotográficas #FotografíaAntigua #FotografíaModerna #HistoriasCuriosas #CámarasSony #TecnologíaFotográfica #InnovaciónFotográfica #FotografíaArtística #FotografíaDeRetratos #FotografíaDePaisajes #FotografíaEnColor #FotografíaEnBlancoYNegro --- Send in a voice message: https://podcasters.spotify.com/pod/show/john-vargas-foto/message

I'm the CEO and Founder of The Manuscript Queen— a boutique ghostwriting agency where we help public figures, influencers, and entrepreneurs write, edit, and publish their books.I'm an inspiring ghostwriter and book coach, author of Who Wants To Become A Bestselling Author? and How To Pen, Publish, and Promote : A Self Publishing Guide For Success. My goal is to help visionaries, experts, entrepreneurs, creatives, healing professionals, therapists, coaches and people from all walks of life access their juiciest ideas, write in a state of flow and do their finest work. I've contributed a chapter to The Dating Game for Brown Girls Publishing. I also go by the pen name M.C. Walker where I write contemporary fiction novels and self-help memoirs which include, Pieces Of Me: Things I've Learned Along The Way.I love to help with all aspects of book writing from creating the concept to publishing your bestseller. I specialize in helping writers from various backgrounds launch their books into podcasts and writing workshops. My goal is to help my clients stay relevant and clarify their brand messaging with their book. I help them craft captivating stories that will live in the hearts of their readers. Learn more about Minolta here!Learn more about Path to Podcast Success here!

Welcome to The Profit Talk! In this show, we're going to help you explore strategies to help you maximize profits in your business while scaling and creating the lifestyle that you want as an entrepreneur. I am your host, Susanne Mariga! I'm a certified Mastery Level Profit First Professional. Let's dive into strategies to maximize profits in your business! In this episode, I interview Milo Shapiro. In 2000, Milo left fifteen years in Information Technology to pursue his passion:  applying improvisation to business practices and personal development.   Through his teamwork course “TEAMprovising” , he creates team connectedness, improved communication and boosted innovation (programmers at Sempra Energy, engineers at Qualcomm...even surgeons at AOSpine).  His interactive improv-game motivational speeches have delighted Southwest Airlines, Minolta, and Pfizer.   As a speaking coach, Milo has helped hundreds (including top management at Sharp Health Care) become more prepared, polished and powerful.  A speech about his book “Public Speaking: Get A's, Not Zzzzzz's!”  provides a fresh voice on this old topic.  To learn more about Milo and the services he provides, visit his website https://miloshapiro.com/   Visit my FREE Facebook Group, The Profit First Masterclass, where I'll be sharing additional exclusive trainings to members of the community.   If you're excited about what's next for your business and upcoming episodes, please head to our itunes page and give us a review! Your support will help me to bring in other amazing expert interviews to share their best tips on how to powerfully grow in your business!  DISCLAIMER: The information contained within these videos is provided for informational purposes only and does not constitute, an accountant-client relationship. While we use reasonable efforts to furnish accurate and up-to-date information, we assume no liability or responsibility for any errors, omissions, or regulatory updates in the content of this video. Any U.S. federal tax advice contained within is not intended to be used for the purpose of avoiding penalties under U.S. federal tax law. 

Under a Red Glow Podcast Episode #119 "The Lighting for Newcomers Episode? News, Minolta, Meta" Show Notes: John and Christine discusses latest news, 'best gifts for photographers' guides and answers some lighting questions. Plus all listeners get a peek at our supporter-only after show. The after-show starts at 1:04:30. Show Support: Want to help support the show? Starting at $1 get episodes early, without ads and enjoy our supporter only after show! Supporters also get early access to creations such as YouTube videos, darkroom notes and creations and personal projects. Check out our great reward tiers with physical goodies starting at $3 and up. Thank you, your generosity helps us continue to create, demonstrate and share the art and history of photography with the world! Patreon: www.patreon.com/johnmilleker Giftable subscription: https://johnmilleker.com/store/printofthemonth/ Show Links: Website: www.underaredglow.com Facebook: www.facebook.com/underaredglow Patreon: www.patreon.com/johnmilleker YouTube: www.youtube.com/channel/UC1JlSQfaC_aFbB5t62fCn3Q Mailing List: https://us14.campaign-archive.com/home/?u=1acef2a47d235975b1cf211dd&id=732c90f600 Your host and co-host John Milleker Photography Website: www.johnmilleker.com John's Website: www.johnmilleker.com/aboutjohn Christine's Website: www.johnmilleker.com/aboutchristine --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/underaredglow/support

Under a Red Glow Podcast Episode #119 "The Lighting for Newcomers Episode? News, Minolta, Meta" Show Notes: John and Christine discusses photography news, and goes on a long discussion of photography lighting. Show Support: Want to help support the show? Starting at $1 get episodes early, without ads and enjoy our supporter only after show! Supporters also get early access to creations such as YouTube videos, darkroom notes and creations and personal projects. Check out our great reward tiers with physical goodies starting at $3 and up. Thank you, your generosity helps us continue to create, demonstrate and share the art and history of photography with the world! Patreon: www.patreon.com/johnmilleker Giftable subscription: https://johnmilleker.com/store/printofthemonth/ Show Links: Website: www.underaredglow.com Facebook: www.facebook.com/underaredglow Patreon: www.patreon.com/johnmilleker YouTube: www.youtube.com/channel/UC1JlSQfaC_aFbB5t62fCn3Q Mailing List: https://us14.campaign-archive.com/home/?u=1acef2a47d235975b1cf211dd&id=732c90f600 Your host and co-host John Milleker Photography Website: www.johnmilleker.com John's Website: www.johnmilleker.com/aboutjohn Christine's Website: www.johnmilleker.com/aboutchristine --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/underaredglow/support

For the second episode in a row, we take a deep dive into a singular brand of cameras, and as you can pretty much already guess, Episode 36 is all about Minolta!  The guys and I visit the Minolta Disco with returning callers, Alex Luyckx, Bill Smith, Howard Sandler, Mark Faulkner, Mario Piper, Robert Rotoloni, Wannes Scheipers, and first time caller, Mig Cero. The Minolta Disco is a strange place where we cover history of the company, our favorite models, common problems and what to look for when buying certain Minoltas, the Minolta and Leica connection, and what Minolta Auto focus SLRs you should consider if you like physical knobs.  Minolta is one of the longest lived and prolific Japanese camera makers, so we had a huge number of things to talk about. Not content to stick with just one single topic, Mike reveals a strange habit he does in the dark when loading film, Paul covers everyone's favorite Topcon SLRs, along with a short review of the focal plane shutter Topcon IC-1 Auto, Robert gives us some history on why so many Japanese camera makers preferred 24mm x 32mm images, and a little bit of history on Japanese distributors in the United States. As always, the topics we discuss on the Camerosity Podcast are decided by you.  The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, and right here on mikeeckman.com.  We record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. For our next episode, we will hit the road and record our third European episode, recording at a time that is more friendly for our fans in Europe.  For our friends in the UK, a lot has changed since the last time we talked, they lost their queen and have had three different Prime Ministers, so who knows what kind of mood they'll be in. We are not 100% sure on the exact time we will record Episode 37, but it will probably be Tuesday, November 22nd.  Be sure to stay tuned for the official announcement. This Week's Episode Mike's Strange Habit of Closing His Eyes While in a Darkroom / Alex Purposely Waits to Look at His Digital Photos After Taking Them We Start Talking About Minolta with a Topcon Super D and RE3 / Difference between the Super D and Super DM Topcon RE lenses vs Topcon UV Lenses / Leaf Shutter Topcons / Topcon IC-1 Auto Topcor Cult Lenses, 58mm f/1.4 and f/1.8 lenses / 135mm and 200mm Telephotos Not All Exakta Lenses Will Work on the Topcon RE Super / The Schneider-Kreuznach Xenon 50/2 Hits the Mirror What Other Cameras Came with Topcor Lenses? / Horseman and Leotax Did! Tokyo Kogaku and Nippon Kogaku Both Had Very Similar Origins / Topcon Suffered from Poor Distribution in the US Other Companies Who Were Killed By Distribution Like Miranda and Aires Nikon Got Lucky With Ehrenreich / Canon Struggled With Distribution / Minolta Distributed Themselves Minolta's Early History Nichi Doku and Molta Eventually Became Chiyoda Kogaku The Original Minolta was Based Off the Plaubel Makina / Minoltaflex and Minolta Autocord When Did Minolta Become a Meaningful Force Outside of Japan? / Minolta Was Successful with Post Exchanges Minolta's Screw Mount Rangefinders / 24 x 32 Exposures / Japanese Film Was Very Expensive and Often Used for X-Rays Was the US Government Responsible for the Disappearance of 24 x 32? What is Everyone's Favorite Minolta? / Minolta Super A (Anthony and Mike) / Minolta SRT-101 and 102 (Mario) / Minolta XD-11 (Bill Smith) / Minolta XM (Wayne) / Minolta Hi-Matic 7S II (Mig) / Minolta 110 Zoom SLR (Theo) / Molta Minolta Vest Camera (Mark) / Minolta Dynax 9 (Alex) Full Bodied Japanese Fixed Lens Rangefinders Are Some of the Best Values Out There Alex Loves the Minolta Maxxums 7 and 9 Minolta SLRs with Physical Knobs / Minolta 600si Classic and 650si Date / Make Your Own Handgrip with Sugru Minolta Got Sued a Lot / Minolta Auto-Wide The Minolta and Leica Collaboration Started with the CL / The Minolta XE-7 Has Nothing From Leitz In It / Leica R3 Minolta XD-11 and Leica R4 / Leica R-Series Lenses are REALLY Expensive Robert Likes Minolta Subminis / The Konan Was the Predecessor to the Minolta 16 MINOLTA DISCO!!!! Other Minoltas / Minolta Freedom Zoom 105i / Minolta Vectis S-1 / Minolta X-700 / Minolta SR-3 / Minolta Uniomat III Did Konica and Minolta Ever Make a Serious Camera Together? Show Notes If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Camerosity Twitter - https://twitter.com/CamerosityPod Alex Luyckx – http://www.alexluyckx.com/blog/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

John Callas is a veteran writer/director/producer in the entertainment business. His experience ranges from the worldwide release of feature films to numerous motion picture trailers, national and international commercials, live action title sequences, a documentary shot on location in Russia, as well as having been the Worldwide VP for The Walt Disney Company while working at a large post production facility. John's prowess can be seen on live action teasers for Ransom, Dennis The Menace, Body Of Evidence, The Golden Child, Spaceballs, The Glass Menagerie, Cocoon II, Poltergeist III, Betrayed, My Girl, Glenngarry Glenn Ross, As Well As Title Sequences For The Two Jakes and A Few Good Men and a promotional film for an amusement ride from Showscan. John also directed an award-winning short film The White Gorilla. While creating live action teasers for feature films, John had the opportunity to work with notable actors including Mel Gibson, Walter Matthau, Jack Nicholson, Madonna, Eddie Murphy and Mel Brooks. In addition to working on feature film teasers, his work can be seen in projects for HBO, The Disney Channel, Show Time, the Broadway Play Phantom Of The Opera and the 1993 redesigned TriStar Logo. John's extensive background also includes over 200 commercials for such clients as Kellogg's, Dodge, Sunkist, Sprite, Toyota, Fuji, Volkswagen, Honda, McDonalds, Mazda, Minolta, Jedi Merchandising, Kraft, Jordache, Sea World, Givenchy and Sonassage with celebrity George Burns and industrial projects for Corporations including Vidal Sassoon, Salomon North America, Nissan and The Kao Corporation Of Japan. John's television experience includes directing a 14-week series entitled Potentials, with guests Buckminster Fuller, Norman Cousins, Ray Bradbury, Gene Roddenberry, Timothy Leary and others. He also directed 80 segments for Bobby's World, which has been rated the #1 show on Fox 11 Television in its time slot; garnering John an Emmy nomination. A multi-faceted filmmaker, John's work can be seen in music videos for Glenn Frey Of The Eagles, Bill Wyman Of The Rolling Stones, Jefferson Starship, Sammy Hagar, Rick Springfield, Doobie Brothers, Styx and more. Some awards John has received include The New York Critics Choice Award for Lone Wolf, The Clio and Belding for his work on the Sunkist campaign, the prestigious Best of the West for his directorial work on a one-woman show, and an MTV award for best concept for Glen Frey's Smuggler's Blues. John's directorial sensitivity, creativity and humor combined with his thoroughness and ability to bring a project in on time and budget makes him a unique and valuable talent. John holds a Master Degree from Occidental College, and is a member of The Directors Guild Of America. --- Send in a voice message: https://anchor.fm/wvuncommonplace/message

RADIO.D59B / FORBIDDEN DANCE #20 w/ Minolta by RADIO.D59B

This week Mike and Andre welcome on Larry Effler (IG larryeffler, www.alztennessee.org)! Larry talks about how he got into photography and his experiences in photojournalism and television production, how digital and working for a non profit got him back into photography, some film camera acquisitions and how that led him back into film, and his covid experience with photography and podcasts. Next, Larry answers questions from the Facebook group including his thoughts on the Agfa Isolette, body parts under a football field and favorite spots to shoot in the Smoky Mountains, focusing on folder cameras, using Minolta as a news photographer, and the Canon T80. Finally, we ask Larry about his work in a non profit organization for Alzheimer's support (link above), how the growth of digital has effected the photojournalism and video production world, and Andre ends the interview with an alcohol infused love fest promotional ramble! Support the podcast: www.ko-fi.com/negativepositives Mike's free music for productions: www.mikegutterman.bandcamp.com email: negpositives@gmail.com Instagram @negativepositives Facebook Group: Negative Positives Film Photo Podcast Facebook Group

Chatting with @andyo7 tonight made me really miss Denton. Can't wait to make it down this September for the next @instantfilmsociety PolaCon. Andy share with us his inception story into the photo world involving his father Minolta and he shared with us a few of his cameras. We got off into a tangent about microphones and then ride-sharing apps before we circled back into the realm of photo chats. He talked to us about some of the promo photos he shared and where they came from and then we got into some of the reasons why PolaCon is such a rad event. If you're looking for something to do this fall you should check out PolaCon and maybe we'll see you in Denton."What started out as a general curiosity has morphed into an outright obsession. I began playing around with instant film 4-5 years ago after Denton Camera Exchange opened and Daniel Rodrigue and Justin Goode gave an afternoon talk at a Denton music and culture festival I was volunteering with. Now, I have almost a dozen cameras and a dedicated film fridge. Now it feels weird to leave the house without a camera. I hope one day to actually be good at this stuff.”Follow Andy at https://www.instagram.com/andyo7/Photography Chat is a weekly Instagram Live @merlindb hosts every Thursday at 5pmPST/8pmESTGive me a follow if you want to see the episodes live https://www.instagram.com/merlindb/Support this podcast at — https://redcircle.com/photographychat/donations

Neuigkeiten von der NAB, Sony hat mal wieder das beste Objektiv und Thilo hasst Dominik. Warum genau und weshalb Dominik doch nicht der größte Safelight-Fan der Welt ist, ob Thilo eine Minolta repariert hat und was sonst noch so los war; alles in dieser neuen Folge! Wenn man uns ein Bier spendieren möchte: ko-fi.com/doefpod Das sind wir: Dominik Pfeifer @hiiamdominik dominikpfeifer.com Thilo Vorderbrück @tvau thilovorderbrueck.de

Donate to the podcast directly with the links below. ⚡️Donate any amount from a Bitcoin Lightning wallet ( including Cash.App ) to Billy Newman https://strike.me/billynewman ⚡️Donate $5 from a Bitcoin Lightning wallet to Billy Newman https://yr.link/lightningpay5 ⚡️Donate $11.11 from a Bitcoin Lightning wallet to Billy Newman https://yr.link/lightningpay11 ⚡️Donate $50 from a Bitcoin Lightning wallet to Billy Newman https://yr.link/lightningpay50 Relax With Rain has decided to be a listener supported production. This means the listeners contribute to Relax With Rain and Billy Newman both financially and through volunteerism. If you feel you are getting value from this, please help by becoming a supporter and send some sats. *New* You can send a Bitcoin Lightning payment direct from the Cash.app Get a Bitcoin Lightning wallet for free instant transfers https://breez.technology https://muun.com https://bluewallet.io Value streaming payments system enables listeners to send Bitcoin micropayments to podcasters as they listen, in real-time. Start streaming value! It's easy to remember: http://value4value.io/ newpodcastapps.com I use https://fountain.fm If you're looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here. If you want to look at my photography, my current portfolio is here. If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. If you get value out of the content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here. You can find my latest photo books all on Amazon here. 0:14 Hello and thank you very much for listening to this episode of The Billy Newman photo podcast. Today we're going to be talking just I guess for a second about some of the outdoor hike stuff that's kind of going on as we're coming in to late May and definitely as we're coming into the Memorial Day weekend but I just finished up a hike in the Mackenzie River area which is really cool beautiful spot you go up highway 126 outside of Eugene OR probably down for any number of ways that you get down on the the I five but beautiful area to get up there you know it's probably one of the world class hiking areas you can get to in a pretty easy way a lot of opportunities that are that are kind of offered there there's a lot of really nice open hikes that are there you know, like pretty wide natural trails that are near the road but are also really separated from from the road and from any kind of like highway action pretty significantly. So it seems like you're really kind of removed from it in a pretty nice way. And then as you know, it's really beautiful right now as the snow melt has kind of dropped out of the mountains you get this really just crystal clear blue water that's in the higher elevation areas as you move up into the mountains in the Mackenzie River area. But it was really awesome to see in that and a fantastic area to go to go hike and to go take some pictures and to get spent part of the day but if you're in the area, or if you have the opportunity, one of the places to get out there would be the Mackenzie River Trail area. 1:50 You can see more of my work at Billy Newman photo calm, you can check out some of my photo books on Amazon. I think if you look at Billy Newman under the authors section there and see some of the photo books on film on the desert, on surrealism on camping, cool stuff over there. Yeah, like I said, I like the October time period you know it's kind of a cool outdoor month for stuff and that's kind of what I was gonna talk about too is kind of layering up stuff for October I've been trying to kind of build up the layers of clothes and the layers of like shelter stuff that I have for some of the outdoor travel stuff that I go out and do and I do it on a budget and I don't really have much stuff and like other people have a lot more experience of like just getting to try all these different pieces and see like the benefits or the kind of weigh out the pluses and minuses of different pieces. So I'm sure like it's probably the case that like the best gear is always the best gear. It's kind of interesting to sort of go through those checklists or you know like kind of in your mind like seeing like what like how's this work what's better for me for this thing or not so I've been pretty happy always have or for the last couple of years to have like a gortex range outlay and for a lot of outdoor stuff that I do in Oregon, later into the year that's been like a real lifesaver for having just like a hard waterproof shell that I can like really trust that has like a good hood on it that can keep me dry for most of the day. That along with I guess kind of like working inward like the puffy jacket makes a huge difference. And so I use like a puffy jacket all the time. There's a few different like sizes though and you sort of have to like look at the down fill layer to see what's going to be best for you and like the climate that you're going out to that it's kind of weird it goes back and forth through me a little bit. So like out here in Oregon, where I am like west of the Cascades it's sort of a mild climate area a lot of the year and so I'm able to I think you're kind of dealing with like above freezing temperatures. Most hours and on most days for the year I think like you know there's there's some some sections of the year where you get some some heavy freezes but outside of those storm times it's like it's really like pretty mild weather a lot of the time and if I'm going camping or doing something outdoors in the winter I well there's a couple different types I definitely use it but really for a lot of like the three season work I do I use a light puffy jacket either this north face, thermo thermo ball, I think it's like a like a polyester based one. It's not a downfield, puffy jacket but I've used that for maybe six years now and I really appreciate having that I think it's great. That's probably one of my most used insulating layers when I'm going out and I mean works great really all four seasons with compared in these mild weather circumstances like I am here in Oregon like that paired with that shell is been enough for me to go out and in almost every kind of weather circumstances I've been in when I've gone out and been working or like when I was working outside a lot in the rain and trying to VSI like most days through the fall and winter. It was really Fine to do that with a strong or like a good gortex shell that keeps you dry all the way and puffy thermo insulating layer that keeps you warm. So it's pretty cool but kind of comparing that and I have like this Patagonia jacket that I think has like a heavier down fill rating and that has a lot of insulation to it, which is cool, warm jackets are great. And I definitely take that out kind of in deeper into the winter. But what I noticed though, is that for a lot of circumstances, like I said, three season work. And while you're working or kind of like physically kind of exerting yourself I've never noticed like if it's not below freezing that is too warm of a jacket to wear. And so you kind of get to pick a little bit of like where your, your environmental thresholds are like what kind of environment you spend a lot of time and this is going to be above freezing temperatures or below freezing temperatures, or is it going to be hot weather temperatures like where you're working, you know, your coldest temperatures might be 50, but you're really going up toward like the 80s and 90s pretty regularly. And that's kind of a different environment to work into. So I've been kind of trying to keep an eye on that but as we're kind of dropping into October the outfitting stuff that I'm doing is sort of away from the heat gear stuff that I would have been using where I'm in like lighter synthetic shorts and trying to use like lighter layers and stuff like in the winter you kind of get to layer up and stuff which is kind of fun sweater weather 6:26 right what I picked up last year and I'm kind of excited to put some more use into it was a wool baselayer so I got a wool t shirt which is great and I kind of appreciate trying to cut out some of the cotton material that I'm using when I'm going out and doing some more outdoor stuff and I guess it's because apparently back in the day cotton was a great revolution right you know it was a more breathable fabric and it would dry faster than other fabrics that they had available to them I guess is part of what was cool about it. But as I sort of understand now it's one of the more riskier types of fabric that you can wear as a base layer when you're out in the woods for a couple days or when you're out camping or you know the talking TV shows about when you're in a survival situation. And not really that but yeah when you're out camping or if you were going to go hunting or you're going to go on a couple day photo trip in the woods you're just going to be living out of your truck and stuff it kind of is it ends up being a little difficult to use a lot of cotton pieces especially if you're going to get wet or if it's cold and you don't want to get wet but you do get wet and that's a bummer because the cotton stuff just kind of stays wet and it gets cold when it gets wet. And a couple of those things just sort of lead to it being a little bit frustrating and I guess that's where some of the the survival complications of happy with people who are out in okay conditions they get hit with a cold rain or a wet snow and they're in a like a an outer let you know their insulating layers but they're like a cotton coating. Or like I guess like I guess tough, warm insulated Carhartt jackets on hunting in that they got into some wet snow on the second morning. The Carhart wet pants got or the pants that were insulated, got wet from the tall grass and brush that they walk through and then the person became hypothermic because of their exposure to the cold that soaked through their pants that got them very cold and I think they had to like ditch the band's get into their sleeping bag it was synthetic and then they try to like warm them up with a hot water bottle in a sleeping bag or something like that out of the Jetboil but really like it ended the trip I think they like they can't continue out as sort of stuff so it's kind of interesting. I like that kind of that kind of thing can go and I know people have probably heard anecdotes like that similarly in the past I'd hear like someone else talking about like a warm weather thing where I think they were going out on like a 42 day canoe trip Can you imagine that like going through some big river system and Labrador up in Canada. Wow, fun times popping out in the Hudson Bay or something, who knows. But they would go out there and they would talk about like all like the specific limitations on the type of fabrics that they would select to use because like if they got wet in the river, or I think it was like a cold weather or who who knows what kind of weather you're going to get sort of circumstance where you'd go between hot and cold and Canada kayaking or canoeing down 1100 miles or something like that, just big long trips like that. And they would kind of be really specific about how like they they won't even have cotton boxers or cotton underwear because it'll it'll be the thing that ends up being a problem other people or another person. I think kind of there's there's a lot of great ways to sort of work through this next problem, but I think someone argued that they did have cotton on them, so that they could use it as a fire starter. If they needed a fire starter, I suggest to just bring Firestarter or some other some other material like that I think it would probably get you by a little better than your cotton underwear. Best very sorry that I've used and heard about was 10:15 well, I mean yeah, like a stove or whatever but if you're if you're trying to light a fire in the winter like having a plastic bag with Vaseline dipped cotton swabs was like a pretty inert material. Just like having a backpack doesn't smell like kerosene or something. And it has multiple uses you can use it cosmetically for everything's our goodness, if your lips chap, I hate it when it gets dry and cold and you go oh man, my pores can't handle it. They were in a different environment. 5000 feet a difference in elevation a day ago, too much change and too much seasonal change. Now you get like, I don't know just rough spots or dry spots are supposed to use a Vaseline you get the cotton swabs for all sorts of different things, but they're fantastic if you light that up. It's a great little flame ball and you can use that with a stack of your other dry materials to get a fire going. Even in pretty wet conditions especially if you're kind of keeping your your Firestarter material protected in some little part of your backpack. Keep it a try and stuff that works out pretty well. And I think it works better than like your underwear on a rafting trip. So but yeah, I've heard of that. Yeah, people people try to not use that people try to like drop their leather belts like they won't take a leather belt out into the woods either. I like I wouldn't like a sturdy belt. I like what you see like people like big leather boots or whatever it's not because it gets washed, waterlogged, but I guess cuz it's maybe a weight thing. I think that's what the idea was for, for maybe they're like going backpacking and use like a piece of nylon webbing as a belt at that time. or other stuff we're like, I don't know, just little tricks and things like how you kind of hide certain materials and other materials and stuff. But it's it's weird how it goes. So I guess yeah, cotton stuff is sort of no go. They talk about using wool a lot as sort of like a preferred material to make it out of or down here like down stuff is kind of a preferred material. And then I also kind of hear similarly, sided, bad things about sort of the petroleum develop products that you get from polyesters or nylons, or I guess like this polyester insulating foams, you get like those thermoball insulating foam bits that would be in the pouches of another polyester material that makes up like the puffy jacket that I wear. For the Patagonia one that's a downfield, puffy jacket. And you have little goose feathers poking poking out of it all the time, too. Yeah, I feel like you feel around the right way a little a little goose feather I'll punch out the side and pull it out a little feather right there a little little down feather, which is kind of trippy. But those I guess are like a better insulating system than like the synthetic kind of oil based stuff. And I guess the same goes for like sleeping bags too. If you want to get into like a sleeping bag to keep you warm. There's something like the like the 15 degree bags that are well I don't know and it has a couple other features too, I guess it's like light and it stretches down well and if you get it wet, you can get a drag and well I guess it depends on like certain qualities down sometimes that kind of get i think is a little tricky. But the wall I guess you can get, you can have get wet, you'll stay warm and you can get it dry faster. And I think that's sort of the benefit of the wall on the animal that gets wet too. You know, like if you think of a sheep getting rained on all the time, I guess it's sort of part of the fibers that it doesn't doesn't attract a lot of odor, because it has to be on an animal all the time. And I guess it does well to not have to like make you cold when it gets wet. I guess that's a big part of it. So a lot of the merino wool fabrics that have come out or the merino wool blends that are with some little bit of spandex or some other kind of natural fiber product that they try and put in helps to kind of be a little bit more durable when they have those little blends, but mostly you want like a pretty strong merino wool fabric. And that's pretty cool if if you're getting sort of like a base layer or something like that. It's a little bit more tuned for the outdoors there's like wool sweaters or something that you can find but that's not quite there cool old white shirts, you know like an old old Pendleton shirt or an old filson shirt that's like a lagers kind of wool button that that would go into like a like a canvas jacket. I kind of think it's cool but that's sort of a different look and it's used to be the the technical gear layering and probably still you'd see if you get like I don't know like a horse guide like a guided trip with a horse or a mule or something like that. That's the pack and a bunch of stuff they probably still use gear that sort of similar to that without the kind of like the technical stuff Got a gear that you try and find it like Rei hiking places or something or, or wherever, whatever else similarly branded. But yeah it's cool that I tried to do some wool Merino underlayers trying to work with those puffy jackets when I can 15:16 try to work with a soft shell that actually gets a lot less use than it used to. I used to try new soft shells all the time but but really I just kind of go with the wool the wool base layer The North Face kind of wore you know, like warmer temperature rated puffy jacket and then I have the gore tex layer over that picked up a hat this year. That's pretty cool. Like in that boots had a couple different sets of boots for the October stuff before it gets real heavy in the in the season before it gets like real wet or rainy. Now while I'm kind of doing some of this lighter outdoor stuff I have like a pair of heavy leather boots that are super cool for some of the deeper hiking stuff that you get into especially after it's real wet and rainy and stuff but really for a lot of the light season stuff and sort of summer spring stuff. I have these Nike s FB boots it's like that military dude I picked it up in brown like a desert tan color. And then I also picked up a similar pair that underarmor makes and so they're kind of like a lighter, more athletic shoe from the base but they have like kind of tall neck that goes up to like your mid mid upper ankle there. And so it's not like a real Tabu or like it's not like galoshes, they're not waterproof, they're kind of vented on the sides and they dry out they're kind of like a synthetic material that dries out pretty quick when you do get it wet but it also has like a good bit of tread and you can get them wet get them dry and wet. I think that kind of made for a okay dry environment that's sort of where I use most of the time is you know hiking around for any of this kind of lighter duty for us that was really nice because they're light boots like with those other heavy leather leather ones like just the soles of the boots seem like they're pound each you know you kind of like feel it the first couple of days you getting back into the use of them during the season where you're like man my feet are like four pounds heavier it seems like each just kind of like walking with a weight on it. So it's nice to have one of the newer sort of higher tech boots they don't have the same kind of ankle support as like a thicker leather boot does or and they don't have the same kind of heel support. I like to talk about like those you know thick like like a two inch heel or something that like one of those whites boots has or if you get like Red Wings they have like a real deep thick heel that you can use to kind of stomp in and cut in on some hiking stuff and these yeah it's just kind of like a good a good sort of smooth walking boot and you get some ankle support from that that tell him neck but it's sort of a fabric so that it really seems like it you just it's a light boot and seems like you're ready to run and you can do like an athletic maneuver in these pretty well and it doesn't seem like the boots gonna be too heavy to slow you down not not right for every circumstance like if I'm really going in a deeper area it's cool really it's nice to have like the kind of protection of a steel toed leather boot but like the the normal s sfbs i think are not a steel toe I think I think these Under Armour ones though are and then there are steel toe versions that are out there. But that does seem to I've kind of run into a few circumstances where after some of the some of the more woodsy stuff it really seems like having the steel toe has helped a lot to keep keep my feet protected and stuff and if you hike ally you gotta gotta watch out for blisters and stuff too. One of the big things I've noticed to help that is like really breaking in your shoes with three weeks or more but three weeks of like pretty near full time use to really start getting them broken in or to get kind of the feel the break the crease, the kind of the fabric kind of working together and the way that it's gonna fit around your body and stuff but yeah, it seems like it takes about three weeks to sort of get those issues broken into a spot that that ends up being comfortable for longer trips and longer where I had like a pair of shakos in this jacket they were great you know that you don't you don't wear socks and you don't like buffer it with wool socks or something but I remember I think working with those for like three weeks or so at first your feet, man, they will rub raw Yeah. Yeah they'll you'll get some hot spots with the webbing on those chalk as it's like this real kind of tough webbing but after like three weeks or so like after you kind of wear your foot into it so that it's kind of strong enough to deal with it. And you also start breaking in the rubber of the boot or the rubber of that that foot or the shoe through your foot. But once you get that all kind of broken and I was able to hike for miles and miles and those and really have no rub problems at all. I think I did. I think I did the whole the whole hiking trip up to the summit of the paintbrush divide in the cast. skiing, you know, like the Tetons chip I talked about some times Yeah, I did that whole hiking trip at the Tetons in early, mid late September. Probably right around now, but I did that trip in the Tetons with just those those black shakos that I had that had like kind of that boot tread bottom and I did great through that whole trip I did like a 42 mile trip down the lower road that was like a hiking backpacking trip so you have a backup back pack on you got these little river shoes on and you're hiking away on the trail and yeah a lot of the times if you're not really in shape for it man those will just rip your feet up pretty badly and I've seen it really affect people's trips before you know like where their shoes just like really start to bite in on him and it happens really fast. As soon as you get like a hotspot or something it can be just a quarter mile or another mile and then like that that problem has been exacerbated a lot so as soon as like gets bad boom man gets bad fat or it starts to degrade fast and then once it's gone it's it's gone on for a while 20:59 you know it's it's bad and it can cause some some mobility problems when you out there so I think kind of to kind of deal with some of that stuff we're kind of breaking them in earliest school which is what I've been trying to do with some of my shoes but yeah trying to get outfitted for this stuff in October it's been kind of fun trying to work out the the layers and stuff 21:25 you can check out more information at Billy Newman photo comm you can go to Billy Newman photo comm Ford slash support if you want to help me out and participate in the value for value model that we're running this podcast with. If you receive some value out of some of the stuff that I was talking about, you're welcome to help me out and send some value my way through the portal at Billy Newman photo comm forward slash support you can also find more information there about Patreon and the way that I use it if you're interested or if you're more comfortable using Patreon that's patreon.com forward slash Billy Newman photo we've made like a big switch over the summer and like I've been talking about on the podcast over until like the Sony lineup which has worked out I think pretty well for us I think it's been cool like using the Sony camera systems for a couple months now. 22:22 Yeah I've really liked it it's been cool having a completely different camera setup. 22:28 Yeah I see we were working with Nikon for the longest time like it was probably about 10 years ago so that about my first Nikon camera and that was like a D 40. Before that I'd used a couple others but but yeah, that was like the first DSLR system that I got to get into digital photography and that was about 10 years ago and so I was with Nikon kind of building a system in Nikon for a really long time nearly that whole 10 year period and it really didn't didn't blossom into a ton of stuff so I thought yeah, I'm gonna sell all this I'm gonna try and go with a different system for a little while and I think the Sony stuff is paid off pretty well there's definitely some stuff that fits what we do in photography really nicely. 23:06 Absolutely I think that yeah, I think that the Sony cameras are really really good for like outdoor landscape and all that adventure photography that people are starting to that we're so into. 23:19 Yeah, I love doing the the outdoor adventure tourism photography stuff and like the low light 23:23 stuff really the low light all of the nighttime photography options. It's really amazing. 23:30 Yeah, there's so many great options or just abilities that you can have with them with high ISO sensors now like on the Sony line, there's just a lot you can do really cool stuff that you can shoot stuff you can never have done before like, like the whole like Chris Picard documentary or film that he put out about photographing like surfers in the auroras. Yeah, at night. Yeah, you just could never have captured that before but it's really one of the first times and it's right on the cusp of at that point in history where we have sensors that are that are capable of capturing that kind of low light stuff in real time. Like capturing that many frames to get video at night like that but also capture those real colors. So it's cool to get stuff that's kind of close to the human eye can do. Yeah, 24:11 it's really cool. It's It's really amazing shooting with it and seeing that really yeah, like you just said it's it's capturing really just what you are able to see 24:20 Yeah, yeah, it's a really fun part about it. And then that's also what's so cool about being like our age and being photographers is we're gonna get to kind of grow into some of this technology has its really starts to mature over the next decade and two decades, it's really going to advance a lot where we get into way more capable sensors. I mean, you know, now we're just getting to this point where we think like, oh, wow, that's starting to look like what an AI can do. Like imagine 10 years now into the future where we get wide dynamic range photos, or you know, like things that have like, like, just way more capabilities way more information than the files we get. Now we get like 3d maps that are like 360 degree, you know, we're gonna have like, we're gonna be shooting holograms someday 25:01 yeah No kidding. 25:03 Really cool if it happens I don't know. But it's fun though yeah working with the Sony stuff and kind of transitioning into something that's a bit more of a modern camera system for like a long time in the last couple years we shoot with a Nikon d3 system and which was great and that was kind of the first the first time that we were working with full frame cameras right which was a big upgrade I mean I said the film work that we did for a long time yeah working with full frame digital was it was a big upgrade and then now working with the with video, which is a silly thing to talk about. Sounds like 2009 but I'm really excited Yeah, having a DSLR or now not a DSLR since it's not single lens reflex. These mirrorless ones are interchangeable lens cameras, 25:45 right? I saw that it was written as that in smiles that I read yes 25:51 and interchangeable camera yeah it's kind of strange but but yeah I'd like to have like shooting with it and kind of changing over to that 26:01 yeah it's really cool because it's kind of our camera set up before it was like you said it was the the d3 the Nikon d3 yeah but that doesn't do video nobody does our full frame camera and then the camera that we had for video stuff was my Nikon D 7000 was yeah full frame 26:19 yeah the crop sensor but it was cool though like working with it and try it was 26:22 great I loved that camera we got a lot of really wonderful video with it. Yeah but it's so cool having a full frame camera that does really nice video really amazing low light video 26:32 yeah it really does a lie you know I know that a seven S is like the the model that that's supposed to be like the hot one for video right? 26:41 Yeah, 26:42 I think it has like a I think it has a different kind of sensor and it's like a way lower megapixel sensor. And I think it's supposed to be able to capture some kind of higher quality file type like I think it's s log sweated here before it's you know how we were shooting like the AVC Hd mp4 is I think there's this other one called s log it's sort of like it's closer to a raw file or it supposed to be closer to like a higher end file that you would get out of a cinema cameras or something like that is I think a little close to what it is but yeah these these cameras do like a great job at shooting video it's been really cool to try and get used to that and man like compared to what you could do years ago it's it's astounding what you can do it's awesome so it's been cool switching over but the thing is is like we have in a seven our I think this was modern technology in 2014 that sounds right maybe it was 13 but I think yeah, it was like 2014 that this one had popped out and it's a fantastic camera I really appreciate it I mean we were living here at that time it doesn't seem like it's that far in the past but there's been a lot of advancement even since then and especially from Sony as an equipment manufacturer for cameras and I think you were doing some research about that and you pulled up some some great notes about like the a seven or three release that was just announced 27:55 right 27:56 that's pretty cool we had like the a nine announced I think earlier this year which is also a really interesting camera option like it's the higher the more fully professional version of a Sony interchangeable lens camera Yeah, I think that's what it's supposed to be but there's a lot of interesting stuff about the a seminar three now but that could be pretty cool I think there's a new battery type yeah higher capacity battery system now. 28:28 Yeah which is great news because those batteries suck it's really that's what I don't like about this cameras 28:34 yeah for as much as screentime time as it uses with you so much battery yeah for the types of files that is writing to disk I mean if you if you ask like your laptop to transfer 40 gigabytes of you know like when we shot one of those weddings and we burn through a battery it's like well we did right 32 gigabytes to a card pretty constant yeah pretty remote video like causley so I guess it must take like some amount of electrons to want to run that to charge it so it's amazing that it can do it but it's it's really awesome and necessary that the a seminar three gets the upgrade of having a more stable battery system and that's really been one of the downsides of the Sony system for a long time the other upgrade that they've been talking about was improved autofocus systems like it was a faster autofocus it really I don't know anything about it though but I've been upset with the the autofocus system so far on on the a seminar I think a lot of people have complained about that it's one of those weird things where I think it has like a gajillion autofocus points but just they're not like fast you know what I mean? It's like it's just it's like it has them but they don't like operate 29:44 yeah they don't respond the way that they're supposed to all the time. 29:47 It doesn't seem like it I mean I suppose it was supposed to be kind of a slower auto focusing camera. I don't really know what changes that the dynamics of what makes like faster, slower but man yeah I was definitely behind some of the competition on Canon or Nikon of like just being in focus. Yeah. And maybe that's an issue that we have with our camera it could it could very well be more more prevalent with this one. But I noticed like with with the a seven two that we had for a while that that seemed like poor focus a little faster. Yeah seemed like work a little bit sharper. 30:23 It seemed like the second model. I bet that a seven or two is probably yeah at least similarly a little bit quicker at it. 30:32 I know that it was supposed to have a new autofocus system in it. It was like a 500 point autofocus system that was supposed to be just kind of a crossover. It was supposed to be a lot better as I guess what? I don't know what it was supposed to be really but now this one's supposed to be better than that one. 30:48 That's what I heard I heard it was supposed to be pretty comparable to the a nine I 30:52 think that's great. I mean, yeah, it's decent or acceptable. And it's really cool that it's coming out soon I think we're probably likely to hear announcement of an a seven or Yeah, an a seven s three and a seven s three instead of an a seven or three Yeah, we're I think we're gonna see like an upgrade to that one also sometime in this next year. And maybe an a seven three as that goes to you know what? upgraded battery system? Yeah. Yeah, maybe an upgraded sensor, or, or upgraded sensor options or something, but, but it seems like maybe they're on track to do something like that in the next year. I think then the kind of space their announcements are a little bit. 31:33 Yeah, they're quick with it, are they they have a lot of announcements this seems like are just like through the last few years, it seems like so many things have been updated. Oh, I totally agree like quicker than quicker than canon comes out with things quicker than Nikon comes out with. It seems like 31:49 it seems like it's going pretty fast though. I do remember like 2000 by 2001 234 and five, man it really exploded during that time. Like the like it was just boom, boom, boom, a camera like every six months, it seemed like you know, to get to get that many iterations out that quickly. It was like because they were just populating the home the whole market channel for the first time with digital cameras, so they just had to had to make the professional one an immediate one, the beginner one, all at the same time for the first time. And then again, like a year later, so it was just like, like every couple of weeks. new cameras coming out. Yeah. Yeah, like, I mean, if you imagine like, how much how much changed, it was between 2002 1007 or so that was a huge growth, you know, and in camera stuff during that time. It was crazy how that was and then now like we're kind of thinking like 2010 to 2017 let's say Sony has definitely come a long way. I think in 2010 they were working on like the early MDX mirrorless systems those cropped up sensors Yeah. And and that was kind of the predecessor to the a 6008 6500 you know, whatever they have right now. That's out but but yeah, it was interesting, they've kind of progressed so much and then and then really built out the the interchangeable or the mirrorless systems because for a long time in the 2000s they had sort of a mid range Sony line that was built by Mumia or not me me me some other some other camera manufacturer Minolta um and also okay Minolta made Sony DSLRs I think in the 2000s the other a series like the one that we gave our friends like that was I think a camera that was sort of constructed by Minolta as a manufacturer but it was sold as a Sony system and sold with Sony branded glass I don't know if Sony was looking for a camera system but I think that these are these are now like more in house Sony systems and they're much much better you know like that's why like Sony DSLR was was never really something you heard back about 10 years ago. And then now like the next point that you'd brought up is that Sony is overtaken Nikon as the second company in the US for for full frame interchangeable lens camera sales. Yeah really interesting. I heard another thing there's a photo of some photo convention over in New York and there was there's like you know two big booths it was it was traditionally canon in a big booth and then Nikon and a big booth this year not Nikon it's Sony yeah yeah Sony's taken over in that spot and he's announcing that he seminar three I think Nikon that just had an announcement You know, they're out that they're at the place with a different booth or somewhere else or something. So it's interesting to kind of see that that change over from so many people sort of moving away from Nikon stuff and moving into some of this interesting Sony equipments and coming up 34:47 and it's really interesting. I really noticed it, I think, to just when we were selling off our Nikon stuff and stuff we saw a lot of a lot of other people seemed to be doing the same thing. 34:58 Oh, yeah. Yeah, definitely. It seemed like that when I was cruise through kth it really seems like Sony cameras camera bodies are really hard to be found. Yeah they're pretty pretty hard to come by so there's definitely yeah yeah it's it's interesting to see kind of how that that shift is happening and 35:16 it's it's really interesting I see a lot of people using the like the a 6000 yeah also like the not quite professional ones I see a lot of people using just Sony cameras. 35:31 I think that was what a lot of selling cameras of the year that it was produced. 35:37 36,000 35:38 Yeah, I think that's one of the 35:39 higher I believe it. That's a really good camera. First cheapest it is. Yeah, that's a great camera. 35:45 Yeah, yeah, it definitely is one of the one of the best cameras that you can get started with, I think, yeah, and with a lot of the things that it does it perhaps simply it really gets it done. I've been working with easy's Yeah, I've been working with an A 6000 for a few months now. Just as a production camera for work. works great. It's just the base kit. It's really simple. It was way cheaper than like the 15 $100.70 mark two system that we were working with. And that was just body only this was like, you know, lens and flash and we were half the price or something. So for a production system like this. Yeah, I just it just fit in just perfectly. It was fine. It was both crop sensor, you know, nothing different about. So yeah, it's been really interesting to kind of see see some of the interesting stuff that Sony is doing. But what Well, I don't know what I thought was cool about some of the Sony transition stuff. I heat is coming on here, at least. Yeah, it's a fun old house with a boiler in the basement. And then as the heaters Come on, it sounds like people are sledge hammering the pipes in the walls. Maybe look up maybe look up the sound filter earlier, the noise gate that we've got. But yeah, with some of the Sony stuff, it's been cool transitioning kind of being part of the the wave of stuff that we're learning about and being able to kind of dip into some of the low light stuff that we can do some of the video stuff that we can do. I've liked it so much. No, it's been it's been really useful. I've learned a lot just by doing that, you know, like before that we were really invested in film equipment. And and that was a really cool workflow. Like for the last couple of years, we've been doing 35 millimeter film processing stuff, or you know, we have a process and to do digital adjustments to and then I can scan it and show it and stuff. And that's been great. I really did the style that we got out of that. And I want to get back into that a little bit with like the nav. Yeah. But for, like professional, like commercial activity and work and stuff. I think it's great, like moving into the Sony stuff, and I really want to invest in some class with you, 37:47 man, me too. 37:47 Yeah, we got to do more class. Yeah, we 37:50 need a few more lenses. 37:55 Thanks a lot for checking out this episode of The Billy Newman photo podcast. Hope you guys check out some stuff on Billy Newman photo.com a few new things up there some stuff on the homepage, some good links to other other outbound sources. some links to books and links to some podcasts like this. A blog posts are pretty cool. Yeah, check it out at Billy numina photo.com. Thanks for listening to this episode and the backend.

Minolta hat ein solides Widerstands-Problem, Dominik investiert in Leica und eine fette Steuerrückzahlung sorgt dafür, dass Thilo sich vielleicht noch eine Kamera kaufen kann. Wir entwickeln neue Geschäftsideen, referieren über alkoholfreies Bier und stellen fest, dass Filmentwicklung teuer ist. Außerdem frohe Ostern an alle DÖFler. Habt ein paar ruhige und sonnige Tage. Vielleicht ja mit einer Kamera in der Hand. Oder wenigstens in der Tasche. Wenn man uns ein Bier spendieren möchte: ko-fi.com/doefpod Das sind wir: Dominik Pfeifer @hiiamdominik dominikpfeifer.com Thilo Vorderbrück @tvau thilovorderbrueck.de

Warum haben es Tischler so einfach? Wieso gibt es keine Co-Working Kneipen? Wird Dominik jetzt TV-Star, was würden wir mit 800mm machen? Thilo setzt jetzt auf Minolta und kehrt Nikon den Rücken? Fragen über Fragen, die alle in dieser Folge beantwortet werden. Kameragurte, etc: cleversupply.co Wenn man uns ein Bier spendieren möchte: ko-fi.com/doefpod Das sind wir: Dominik Pfeifer @hiiamdominik dominikpfeifer.com Thilo Vorderbrück @tvau thilovorderbrueck.de

My guest on this episode of the Finding Peace Podcast is John Callas.  John Callas is a veteran writer/director/producer in the entertainment business. His experience ranges from the worldwide release of feature films to numerous motion picture trailers, national and international commercials, live-action title sequences, laser disc projects, a documentary shot on location in Russia, as well as having been the Worldwide VP for The Walt Disney Company while working at a large post-production facility. John wrote and directed the feature film “No Solicitors,” starring Eric Roberts and has adapted NY Times bestselling author, William H. LaBarge's book, “Lightning Strikes Twice.” John is also a published author which includes: SECRETS, WHEN THE RAIN STOPS, CHRISTMAS VOICES, NO SOLICITORS, AND FIRST TIME PARENTS SURVIVAL GUIDE TO UNNECESSARY AND WILD SPENDING. John's prowess can be seen on live-action teasers for Ransom, Dennis The Menace, Body Of Evidence, The Golden Child, Spaceballs, The Glass Menagerie, Cocoon II, Poltergeist III, Betrayed, My Girl, Glengarry Glenn Ross, As Well As Title Sequences For The Two Jakes, and A Few Good Men and a promotional film for an amusement ride from Showscan. John also directed an award-winning short film, THE WHITE GORILLA. While creating live-action teasers for feature films, John had the opportunity to work with notable actors including Mel Gibson, Walter Matthau, Jack Nicholson, Madonna, Eddie Murphy, and Mel Brooks. In addition to working on feature film teasers, his work can be seen in projects for HBO, The Disney Channel, Show Time, the Broadway Play Phantom Of The Opera, and the 1993 redesigned TRISTAR LOGO. John's extensive background also includes over 200 commercials for such clients as Kellogg's, Dodge, Sunkist, Sprite, Toyota, Fuji, Volkswagen, Honda, McDonalds, Mazda, Minolta, Jedi Merchandising, Kraft, Jordache, Sea World, Givenchy, and Sonassage with celebrity George Burns and industrial projects for Corporations including Vidal Sassoon, Salomon North America, Nissan, and The Kao Corporation Of Japan. John's television experience includes directing a 14-week series entitled Potentials, with guests Buckminster Fuller, Norman Cousins, Ray Bradbury, Gene Roddenberry, Timothy Leary, and others. He also directed 80 segments for Bobby's World, which has been rated the #1 show on Fox 11 Television in its time slot, garnering John an Emmy nomination. A multi-faceted filmmaker, John's work can be seen in music videos for Glenn Frey Of The Eagles, Bill Wyman Of The Rolling Stones, Jefferson Starship, Sammy Hagar, Rick Springfield, Doobie Brothers, Styx, and more. John has been recognized with: An EMMY nomination for Bobby's World, THE NEW YORK CRITICS CHOICE AWARD for Lone Wolf, BEST FEATURE at Fright Night Festival & BEST DIRECTOR at Scar A Con festival for No Solicitors - Several awards for his short THE WHITE GORILLA, A CLIO and BELDING for his work on the Sunkist campaign, BEST OF THE WEST for directorial work on a one-woman show, and an MTV AWARD FOR BEST CONCEPT for Glen Frey's Smuggler's Blues. John holds a Master's Degree from Occidental College and is a member of The Directors Guild of America.   You can learn more about John and purchase his book at  www.amazon.com/~/e/B004U7GSZA https://www.facebook.com/When-The-Rain-Stops-110606307893109 Twitter: https://twitter.com/johnpcallas  Instagram: https://www.instagram.com/johnpcallas/  LinkedIn: https://www.linkedin.com/in/john-callas-3648837/  IMDB: https://pro.imdb.com/name/nm0130327?ref_=hm_prof_photo Wikipedia: https://en.wikipedia.org/wiki/John_Callas  

Go see Minimata! Want to support my shows? You can, just visit this link at Paypal, or go to SupportKenneth.com to add your monthly contribution to keep the lights on! Check out my YouTube Channel of Photography Talks, my 6x6 Portraits Blog and my Daily Photography Podcast. Thanks! --- Send in a voice message: https://anchor.fm/kenneth-wajda/message Support this podcast: https://anchor.fm/kenneth-wajda/support

In Episode #10 von -„Fokussiert – der PhotoWeekly-Podcast“ wundern sich Charly Spilker, Ben Lorenz und Gast Sarah Alexandra Fechler über das Comeback der Marke Minolta, blicken auf Martin Schoellers beeindruckende Ausstellung „Faces of XLH“ im NRW Forum Düsseldorf und fachsimpeln über die beruhigenden Farbtrends des Jahres 2022 – von Calming Coral über Velvet Violet bis hin zu zur Pantonefarbe Very Peri. Wir wünschen viel Spaß beim Reinhören!

In our first episode, we discussed those cameras that can take any work we throw their way, and so to close off this season; we're bringing that topic back! What makes things interesting is that some of our choices have changed, and some familiar cameras are still on the table but in different people's hands! And there are no surprises in this list; we have cameras like Hasselblads, Mamiya, Olympus, Nikon, Canon, and Minolta are all in our choices. And when it comes to workhorses, these are cameras that will work in any condition and deliver solid image quality. You also need a camera that you can depend on the metering on the camera, especially if you're working with slide film! You need these cameras to get out of the way, to be not only an extension of your eye but also of your heart. Also, these cameras need to feel right, understanding a camera within your second nature without any real thought to operation. And we end the episode with an excellent discussion about when and where we shoot digital (and yes, we do shoot digital)!

Buy our album picks on Bandcamp, 3/4 on a “name your price” basis:  https://capillaryaction.bandcamp.com/album/capsized  &  https://discorporate.bandcamp.com/album/squeeze-me-ahead-of-line   STRUCTURE:  OG introduces CA & his history w/ them, attending & booking concerts, the awe of discovering something completely new, the importance of venue, stripping down the band on tour, DJ Poseur's ignorance of Oberlin but mutual co-op Hobart worship, CA is recommended for whom? (0:00-13:20) Drummers w/ energy & turning on a dime, composition versus improvisation, any accessible entry points?, NO Mr. Bungle!, “Capsized” & “So Embarrassing”, associates of CA, OG's concert bookings in the bygone days of Myspace, the early days of social media, one doesn't get into music for the money, underground & “self-released” music (13:20-24:18) Being an amazing opening act w/ a famous tour versus headlining, collaboration & exposure, ratings & critical reviews, Pitchfork readers poll & Joe Tangari's reviews of CA (24:18-30:20) individual songs on “Capsized”, the convergence of extreme complexity & unintentionally genius incompetence, a van accident, the Kevin Shea tributes, side projects & day jobs as the tragedy of the millennial generation's musical luminaries, WI (30:20-39:48) CA's elusive discography, documentation of OGs glory days w/ CA, the meaning of CA, RIYLs (39:48-45:35) ratings, metal adjacency & the need for experimentation (45:35-48:50) transition between album picks (48:50-56:33) no such thing as bad music?  acquired tastes & the need for repeated listening to appreciate versus being a rock edgelord (compared to the more American practice of getting really into obscure forms of Christianity), are they done making music?, pushing the boundaries of rock in the 2020s, hooks, complexity, drumming (56:33-59:59) electronics sour the rock purists, vocal comparison, unusual song structures & unpredictability > soloing.  “Squeeze Me Ahead of Line”, Discorporate & Tzadik Records, collaborators famous and obscure, plugging Bandcamp call to action (59:59-1:06:25) review on “All About Jazz” and elsewhere & when screaming vocals are appropriate, then individual songs on “a subtle album”, quasi-jazz comparisons, songs blending versus being individually distinguishable, music for driving, the explosion of subgenres, is it offensive or an easy/“soothing” listen? (1:06:25-1:14:37) How serious are their boastful self-descriptions on Bandcamp?, mystique, avant-garde, the slow return of live music post-Covid (1:14:37-1:17:17) ratings & comparison to their previous EP “Caudle Cameo” (1:17:17-end)   Capillary Action is RIYL:  Mike Patton, FZ, The Season Standard, Basset Hounds, Jouska, Head of Femur, pele, The Book of Knots, Hi Red Center, Need New Body, Volcano!, Zs, Make a Rising, Many Arms & other raucously ambitious acts on Tzadik. I hear Elvis Costello in his voice; OG hears Sinatra (!) & says Mr. Pfeffer mentioned Archie Shepp as a big influence.   The Season Standard is RIYL: Mahogany Frog, Capillary Action, Phil Manzanera, Deerhoof ("Xylan" especially), T.J. Kirk, King Crimson   A great, insightful interview w/ Jonathan Pfeffer of CA in a source I'd never heard of (about the previous album, “So Embarrassing”:  http://www.tokafi.com/15questions/interview-capillary-action/ .   “So Embarrassing” is NYP on Discorporate Records.    A cool rendition of “Sweepstakes” in an indoor overpass.     I would absolutely have loved to see a double bill of CA & Už Jsme Doma in Madison, mentioned by OG as his first meeting of the bandleader.  Here's the music video for “Mariana”.  They should have an album pick on a future OoO episode.   OG also mentioned Charlie Looker , Psalm Zero, and Extra Life.  Mike Watt as a collaborator & jamming partner also comes up.   Pitchfork's reviewer does a good, thorough job with CA, comparing them both aptly and humorously to Need New Body.  “Feeding Frenzy” is compared to the experimental yelling (& apparently storytelling) album by Liars, “They Were Wrong, So We Drowned.”     The performance that led me to Pele for a jazz connection is “The Mind of Minolta”.   A very positive, helpful review of “Squeeze Me Ahead of Line” in an unexpected source:  https://www.allaboutjazz.com/squeeze-me-ahead-of-line-the-season-standard-unsung-records-review-by-john-kelman    OG connects them to Stick Men & obviously King Crimson.

In this week's episode, we are joined by someone who's been doing voice acting pretty much her entire life. Olivia Hack became a part of the creative industry when she was just eight months old, starring in a Minolta commercial. She has since made quite a name for herself in the voice acting community, and has lent her voice talents to a spectacular range of characters over the years. Some of her best known characters include Ty Lee from Avatar: The Last Airbender, Cloe in the Bratz show, and Rhonda Wellington Lloyd from Hey Arnold! She has also done plenty of voice acting work for several video games, including Final Fantasy X-2 and the Avatar: The Last Airbender games. Join us, as Olivia talks about her experiences as a child voice actor in the industry and the many crazy (mis)adventures she's gone through throughout her career! In addition to this, Olivia also shares why she absolutely loves taking part in conventions. She also shares some incredibly inspiring advice for those who want to cosplay but hold back out of fear of being bullied. This episode brims with colorful anecdotes, tips, insights, and uplifting messages that's sure to give you a boost of inspiration to pursue your dreams.Timestamps[2:58] Why Olivia LOVES conventions[21:03]How it's like to work with Michael Hack[36:04]Olivia and OnlyFans[49:47]What's the best part about voice acting?[53:40]Olivia talks about The Brady Bunch[58:19]Olivia on why you shouldn't be afraid to do cosplayFollow along with Alicyn's Wonderland on:Instagram: @AlicynTikTok: @alicynpackardYouTube: Alicyn PackardTwitter: @Alicyn 

Today we get a chance to get into the entrepreneurial mind of Dr Garrick Baskerville! Like many of us see in our businesses, Dr Baskerville saw many opportunities to increase the level of care in his healthcare practice. Unfortunately, he is in an industry that measures success based upon the number of patients seen in a day, no the care that is delivered. What would you do in that situation? Dr Baskerville took it upon himself to re-imagine what a medial practice looks and feels like. He launched METSI Care in Austin, TX and is in the process of expanding around the country. His practice provides care with an innovative subscription model that allows patients to enjoy a high level of care and attention without the need for complicated insurance plans. Dr. Garrick Baskerville is a board-certified Family Medicine physician and the Founder of METSI Care. He received a B.S. degree in Biology from the Pennsylvania State University. He then received his Medical Degree (M.D.) from the Pennsylvania State Hershey College of Medicine and completed his residency at Christiana Care Health System in Wilmington, DE. He has practiced in Primary Care, Urgent Care, Sports Medicine, and Occupational Health (Worker's Compensation) for the past 14 years. ​ Dr. Garrick is passionate about providing high quality care that addresses all aspects of what makes us human beings, including mind, body, and spirit. He believes that care should be affordable for everyone and that quality care takes time. That said, he believes a patient should have time to address their issues and not feel rushed during a visit. At METSI, the visits are 30 - 60 minutes, if needed. When he practiced in traditional, insurance, based models of care, he was scolded by administrators when he wanted to spend more than 15 minutes with his patients. That didn't sit right with Dr. Garrick and he told himself back in 2012 that he would eventually start his own practice where he could provide the kind of care he would give to his own family. With that, he founded METSI Care. METSI launched in November of 2019. Dr. Garrick is also a photographer who enjoys capturing human expressions of joy and excitement. He also enjoys taking both action and slow motion, low light shots. He has photographed artists including Aaliyah, 98 degrees, Mos Def, Colbie Caillat, and Taylor Swift. Dr. Garrick started photography using his dad's professional Minolta camera after losing his father to bone cancer in 1997. He used the camera as a way of healing and connecting with his father which he still does today. In his free time, he enjoys creating and cooking healthy recipes as a freestyle cook, and attending live music events, comedy shows, art shows, and performance art/theatre events. He was an extra in Season 3 of House of Cards. He has been taking bass lessons and plans to start voice lessons soon, as he wants to perform in his favorite cities including Austin, Philly, LA, and Nashville! ​ Dr. Garrick was a speaker at the SXSW Conference 2019 and for the American Academy of Family Practice Direct Primary Care Summit in 2020, as well as other various speaking events in 2020. If you would like to schedule a time to speak with Dr. Garrick, you can email him at info@metsicare.com Thanks again for being part of the Sell Them With Kindness community! We would really appreciate your honest rating of our podcast. Click here to rate & review: http://getpodcast.reviews/id/1556313256 If you'd like to be interviewed on the pod or want your business featured in our "Kind Business" directory, please head over to www.sellthemwithkindness.com today!

In this episode I address some interactions from listeners, try out some new recording technology, and discuss the Minolta Riva Panorama 35mm camera. --- Send in a voice message: https://anchor.fm/sootandwhitewash/message

Summary: Amy is the owner of Great Dane Photos and teaches the dog photography classes offered through FDSA. She is the also official show photographer for many of the premier agility events in the United States, including the AKC National Agility Championships, AKC Agility Invitational, USDAA Cynosport World Games, and NADAC Championships, as well as numerous local trials, regional events, and breed national specialties.  She has photographed a wide variety of dog sports, including agility, obedience, rally, and conformation, and dog events, including FDSA camp.   Her start in professional photography came by taking pictures of her friends' dogs at conformation shows, and quickly grew to outpace her interest in showing her own dog -- and today she's here to talk to us about the reason a great number of people use the internet each day -- dog photos!   Links mentioned: Great Dane Photos Next Episode:  To be released 8/11/2017, featuring Kamal Fernandez talking about FCI heeling and balancing motivation and control.  TRANSCRIPTION: Melissa Breau: This is Melissa Breau and you're listening to the Fenzi Dog Sports Academy Podcast brought to you by the Fenzi Dog Sports Academy, an online school dedicated to providing high quality instruction for competitive dog sport using only the most current and progressive training methods. Today we'll be talking to Amy Johnson. Amy is the owner of Great Dane Photos and teaches the dog photography classes offered through FDSA. She is also the official show photographer for many of the premiere agility events in the United States including the AKC National Agility Championships, the AKC Agility Invitational, the USDAA Cynosports World Games, and the NADAC Championships, as well as numerous local tryouts, regional events, and breed national specialties. She has photographed a wide variety of dog sport including agility, obedience, rally and conformation, and dog events including the FDSA's Camp. Her start in professional photography came by taking pictures of her friend's dogs at conformation shows, and it quickly grew to outpace her interest in showing her on dog, and today she's here to talk to us about the reason a great number of people use the internet each day, dog photos. Hi, Amy, welcome to the podcast. Amy Johnson: Hi, Melissa. Thanks so much for having me on. Melissa Breau: I'm excited to chat. Amy Johnson: I am too. Melissa Breau: So to kind of start us out, do you want to just tell us a little bit about the dogs you have, who they are, and what you're working on with them? Amy Johnson: Sure. I have two dogs and one of them is here in my office with me, and well, if he makes any noise, but his name is Costner, as in Kevin, and so he is a Great Dane, a Fawn Great Dane, if anybody is interested in those details. He's about 39 inches at the shoulder, about 190 pounds, and that is ribs still visible kind of. That's just how big he is. so he's kind of a goof. We joke that he just has 3 neurons, he can eat, sleep and poop, and you know, he's just a really good hang out around the house dog. And then our other dog is a 60-pound Yellow Lab mix and her name is Dora. We don't do a lot with our dogs. They are companions, they like to go on walks, they like to go for hikes in the woods, they like to just be near us, and so they don't have any real special skills. Melissa Breau: I assume they can pose. Amy Johnson: They can pose. Although Costner is…if I try and put a camera in his face he generally kind of backs off and is like, what's that? So his actual special skill is that he is an AKC Breed Champion, and I cannot take any credit for that because we got him after his championship was finished from a friend of ours who were involved in the breeding of him, so he can look really pretty, so that's his special skill. He just doesn't really enjoy looking pretty, so what gets posted online of him are funny things where he's got drool or his lips are spread out on the floor where he's lying down, or you know, he's massive, and he takes up huge amounts of space, and so the pictures that I take are the ones that are just trying to show that and communicate that. We joke that he's a house pony, you know, he's not even really a dog, he's horse size, and then Dora…it's funny because she's the small dog in the house that people look at me and suddenly say we have a 60-pound dog that's considered the small dog, and then they, you know, okay, but she's got a few more brain cells in there. I do joke that I have to have dogs in my house that are dumber than me, so to call Costner not that smart is really, in our house, it's not an insult. That's just my reality. I admire the people who have the Border Collies, and the Jack Russells, and the Shih Tzus, and all those really, really smart dogs. That is not who I am and what I want to live with, so we have just dogs that are really good dog citizens and they know the routines. Costner knows that he has to sit before he gets his food. Sometimes he just stays sitting, even after I put his food down, but so we have our routines, but basically, we just want our dogs to be good citizens, and I think we've kind of got a good balance of that, so. Melissa Breau: Fair enough. So I mentioned in your bio that you got your start taking photos at conformation events. Was that kind of where your interest in photography started? Where did kind of you get started just in photography in general? Amy Johnson: In general, I got started back in junior high. My dad had a Minolta film camera, SLR camera, manual focus, and he taught me the basics of photography, the basics of exposures. So he taught me about shutter speed, and aperture, and at that point it was called film speed, now it's called ISO, but he taught me the basics of the exposure triangle, as it's called, and how to focus a manual focus camera, and how to set my exposure so that I expose the film properly. I never did any dark room work. It was always take the 35mm film canister to the WalMart, or wherever, and get it developed, so I'm not quite that much of a purist, but my beginnings definitely were in film, and with my dad, and we would vacation on the North Shore of Lake Superior here in Minnesota, and so he would take pictures, and then he would show me how to take pictures, and so kind of that father-daughter bond was really enhanced by our experience with him teaching me how to use a camera, and how to take pictures, so I kind of babbled with it throughout the years as I was growing up. I was given by my brother and my parents one year for my birthday they gave me a film Sor of my own, and this was a little more advanced. It was a Canon EOS Elan II, I think, and it had autofocus, so I didn't have to do the manual focus thing anymore, which you know, there's a little skill involved in manual focus, and I admired the photographers who could do it, and do it well. It's not my thing, but I understand the appeal of it. It kind of forces you to slow down and really takes things in, but so I had a film Sor that I, again, just kind of kept babbling, and various things, and then I got into dog shows, and that's a whole long story that we could talk about some other time, but I was showing my second Great Dane, her name was McKenzie, I was showing her in conformation. I was terrible, awful. She didn't have the temperament for it. I didn't have the skills for it. We tried for about a year and didn't really get anywhere other than I made a lot of friends, and really enjoyed learning about the conformation world, and understanding even just the rhythm of a conformation show, and understanding okay, these dogs are going in the ring, and then they're coming out, and then they're going back in, and so you know, it's very confusing at first, and then you kind of figure out oh, okay, I know what's going on, those dogs aren't going back in, and yeah. So I learned a lot about dog shows, and I learned a lot about the people who breed dogs, and that was fascinating to me. I was taking a camera to most shows that I went to and just taking pictures of my friends, and then one time, and this was actually with a digital camera, one of the very, very early digital cameras that actually use the three and a quarter inch floppy disks in it, so not even memory cards. These were, you know, not the five and a quarter, but I think they're three and a half inch floppy disks, and that was your memory card, so and that didn't respond very fast to a dog moving across the ring, you know, you'd hit the shutter button and about two seconds later it would actually take the picture. Well, there's no more dog left in the frame if it takes that long to take the picture, so one time I brought my film camera with me and really enjoyed the success I had with getting dogs moving in the ring, rather than just the ones where they were stacked. So then my vet invited me to photograph her club's agility trial, and that's where it really kind of took off for me, so I really enjoyed the different games, I think it was a USDAA trial, but I'm not 100 percent sure, but the different games were, you know, some were all jumps, and some where you didn't know where the dog was going to go, which I know now are gamblers, and again, that camaraderie around the ring, of all the people and their dogs, was really intriguing to me, and just was very welcoming and fun, and there was a market for the photos there. There was nearly no market back in ‘99, 2000 for candid photos ringside at conformation shows. Nobody was doing them, nobody knew what those were, you know, but agility trials, on the other hand, there was a market for that, people understood what that was, people likes pictures of their dog doing agility, so there was a market there for it being a business, not just a, you know, I'm going to show up and have fun. So I did one agility trial with a film camera, and then quickly realized that I would go broke on film and processing, and then digital SLR's were just coming out, so this was in 2000, and I convinced my poor husband to let me buy a digital SLR, the Canon D30, and as he's hitting submit order on B&H's website he's looking at me saying, "just promise me you'll try and make some money from this," and the camera paid for itself in I think two shows. We realized we had kind of a winning formula there, and so I never have even thought about going back to film, of course, and digital cameras have gotten amazingly good, and amazingly fast, and responsive, and make my job easier with every new camera that I get, so. Melissa Breau: Can you show a little more about how you went kind of from that stage of your business to where you are now, because now you do really, really, big shows, and I mean, just kind of interesting evolution. Amy Johnson: Right. Yeah. It started out as me and the camera, and sometimes my husband would come. My first national event was actually in 2001, and you know, I look back on this and I really had no business doing it, but I was invited, again, so the social aspect of it, I had made friends, and they said will you come, and I said okay, sure. So 2001 they'd have championships and it was in Minnesota, it was in Mankato, which is about, I think, five hours south of me, and so it wasn't like going out of state, and I made the leap. Now, the only really interesting part of this was I had a five-week-old baby at that point, so it was me, and a camera, and Ben, my husband, and Mika, our five-week-old baby, who made the trip down to Mankato, and I had told my friends who were in charge of the show, I had said if this isn't working for me with having a baby here we're going to just have to cut and run at some point, and they were like, that's fine, you know, you do what you need to do, but it all worked, and we had an amazing time, and I got an exposure to what a national events was, and there's a lot of adrenaline that comes with that. In 2007, I was invited to AKC Agility Nationals, so from 2001 to 2007 I was just mostly doing weekend stuff, 07 was AKC Nationals, and again, it was still just me and Ben. Ben was in the booth running the sales side of things, I was taking pictures. Gradually, over the years, I've added photographers, and over the past two years, maybe two and a half, when I go to a national event I've really tried to make sure I had a photographer in every ring, and then also increase the size of my booth staff so that if someone comes through the booth and wants to look at pictures they don't have to wait to get some help to do that. So the whole business has been a very gradual…well, let's try this now, and let's add this now, and what if we do this, or what if we change this. I've never taken out huge loans for the business. It's always just kind of grown under its own as it can support more, you know, I'll put a little more money out, and then it's just been a very gradual, making sure everything still feels as comfortable as it can be when you're running your own business. Melissa Breau: You started to talk for a minute there just about having a photographer on each ring and things like that. What's that process, like you mentioned, you know, having a booth, and then having people shooting photos. I mean, how do you get from one to the other and handle all of that in the midst of a big show going on? Amy Johnson: A lot of deep breaths and a lot of screaming in my head that I don't let come out of my mouth. No, it's all good. I think if I had tried to go from me, and a camera, and my husband to covering six rings, and having six staff in the booth, you know, and the funny thing, I would have probably decided it was crazy and I was never going to do that again, but it went from…so one of the early AKC Nationals that I did probably in 08 or 09, there was me that was there, Great Dane photos was there, plus another photography vendor was there, so we just very amicably divided it. Well, okay, I'll take these rings on these days, and you take those rings on those days, and so there were two photographers there, and each of us had, I think, at least two photographers that we could cover all the rings, but it was between two different companies, and so that's okay. I can manage a few people in the booth and a few people out shooting for me, and then it's just gradually shifted to where AKC and these different agility organizations have said, you know, I mean, if you can cover the whole thing we're happy to allow you to do that, and so if It was a sudden transition I would've probably not managed it, but just gradually adding more and more. It's like anything, once you are comfortable at one level of participation you kind of go oh, let's see, how else could I get involved, or what more can I add onto my plate, and you know, at some point you may go oh, that's too much, but adding photographers has been kind of just word of mouth, and knowing people from other events. One photographer who had shot for me I had seen his work from a previous special event, and he did a really nice job, and so I invited him to come and work for me, and that's actually happened a couple of times. One of my photographers is someone who approached me at a trial here in Minnesota, and said you know, I'm really interested in this, do you want to just take a peek at what I've done, and she lived close enough to me that she could come to a lot of my different local shows, and I could mentor her, and well, okay, that shot didn't work so well, so what could we do differently, or oh, well, that's a great one, if you get a chance to do that kind of a shot again, go for it, so I think that's the beginnings of the education peaks, you know, I really enjoyed that mentoring process, and she now shoots…I mean, our styles are very similar, and so it makes it really easy to have her in the booth or as a photographer because the experience for the customer is that's a Great Dane photoist's photo, not that's Amy's, and that's so and so's, and oh, that's another person. It's all very cohesive and that's really important to me that the experience is one of I can go in any ring and get a good photo, not oh, shoot, I'm not in that ring today, so I'm not sure what I'm going to get, so yeah. Melissa Breau: So I'd imagine that there are probably more than a handful of unique challenges that come with photographing dogs, especially sorts dogs, compared to people, or other common photography subjects. Do you mind just talking about what some of those challenges are and how you guys deal with them? Amy Johnson: Sure. The most unique challenges really do come with the dog sports, especially…it all comes down to speed. You can have an Olympic sprinter in an Olympic stadium doing their race, and I can track that with a camera really easily. Cameras have been tuned to recognize the human form and whatever algorithms are built into their little tiny brains these days. Well, and if you think about it, so many cameras have facial recognition, well, how does it know what a face is and what is a face? Well, it's not looking for dog faces, it's looking for human faces, so there's something about the human from that a camera has been tuned to identify, and prioritize, and its ability to focus. So I'm constantly fighting against some of those things that are engineered into the cameras, so fast, black dogs in bad light are like my nemesis. They are, and the smaller they are, and the fuzzier they are, the worse it gets, but I've taken that on as a challenge. Okay, so that is my hardest subject, fast, tiny, fuzzy, black dogs in bare light, so what I do is make sure that my film and my gear is all prioritizing being able to take a picture of that worst-case dog, and it's nothing against black dogs, believe me, but they are just the hardest thing to photograph, and there's nothing like that in the human sports, or even cars, or you know, whatever. There's nothing like it out there, and so that's the most unique challenge I think, and so every time a new camera comes out I'm always hoping for some feature that makes my job of photographing a small, fuzzy, black dog in bad light a little bit easier, but even just the typical dog, you know, they do move very fast, they can move in very unexpected directions, they have really good reflexes, and so tracking that motion can be very difficult. They don't speak English, so if you want to tell them hey, pose for me, you got to figure out what that word is, you know, is it treat, or is it go for a ride, or is it are you ready. Figure out what the trigger word is to make their ears go up, and their mouth close, and their eyes kind of get a little brighter and go oh, oh, something's going to happen, and then that's the moment you click, as opposed to a human where you just say okay, look at the camera, and then you say cheese, right, and everybody follows directions. Now, when you get a teenager who's really not into this you might still get some not so great results, but at least you can speak to them in a common language. Well, and the other challenge I'm fighting that is actually fascinating to me is as people work on their relationship with their dog, which is a fabulous thing, and that's one of my favorite things about going to a dog show and seeing those relationships, but as they do that it makes it really hard for me if I'm trying to do a picture of the human, and the dog, and a ribbon, the dog is gazing adoringly at the human, and I can't get them to look at the camera. I don't care what word I throw out. There are times where the dog won't look at me because they are so engaged with their human, and that's a lovely thing, and generally, it's not been a problem, you know, the person is generally okay with that, but still, if you want to get the dog it's kind of a funny, you know, it's a good thing that the dog is so engaged with their person, but it makes my job just a little bit harder, so it's those weird things.   Melissa Breau: You mentioned kind of following gear, and new things coming out, and things like that, so I was curious what equipment you use and you know, you kind of got a little bit into the why there, but if there's more you want to elaborate on? Amy Johnson: Sure. No, and oh man, I could talk gear for hours. I love gear. I love camera gear, and it's a really good thing I have a job that lets me write it off because otherwise, that would be a problem. So I shoot canon, primarily, and I have canon's top of the line sports camera. It's called the 1D X Mark II. It is their latest and greatest and it shoots 14 frames a second. It has a really high ISO rating or can shoot at a really high ISO, which is the piece that's critical in shooting in the really bad lighting, and actually, my definition of bad lighting is somewhat different than the average Joe Shmoe on the street, you know, a camera needs a descent amount of light to shoot in, and our eyes are amazing, our eyes can really come in the huge range of lighting conditions, and cameras aren't quite to that point yet, so I need to high ISO so that I can have a high shutter speed so I can stop the motion of my small, fuzzy, black dog in bad light. A Canon Body is the best that money can buy, at least in terms of an SLR. I use what's called fast glass, and that means that it's a lens with a really big opening for the light, it's a big aperture, and so my favorite lens for shooting agility is a 400mm F2.8, as my husband says, it just means is has a really big light bucket so it can collect a lot of light, and make sure I'm getting enough light to again, get that fast shutter speed so that I can stop motion. I also have a Nikon camera, and I bought that about six months ago, primarily, because I felt like I needed to learn Nikon camera bodies for my students. I am able to give really specific advice and troubleshooting information about Canons, and I was not able to give that same level of troubleshooting advice for Nikons, so I got a Nikon D500, which is not quite the top of the line, but it's a really good performance camera for wildlife, and I got a big lens for it, and I use that for a lot of my bird photography these days. So learning the other major brand of camera has been a really good experience for me. It's given me a new appreciation for oh, yeah, this is what it's like to open up a camera that you've never had your hands on before, and be a little overwhelmed by all those buttons, and dials, and menu items, and all that, but yeah. So my equipment, I tend to get the best I can, which is easier for me to justify, again, because it's a business, as opposed to just a hobby, you know, you got to be a little more careful about how you spend that money, but I do love gear. You know, there's also of course, all these accessories. There's monopods and tripods, you know, there's more lenses than just that 400mm, and that could be a whole other podcast episode. Melissa Breau: It's really kind of awesome that you are able to provide that kind of support in a class or to a student when you're talking about a Nikon versus a Canon. I would love to dive a little more into what you cover in your classes at FDSA. What are some of the skills you teach? I know right now I think there are two classes... Are there more than that on the calendar?     Amy Johnson: Right now, what's coming up in August are two classes. One of them is my foundation class called Shoot the Dog, and in that class, we really just start from assuming people are starting from ground zero. We learn the basics of exposure, we talk about shutter speed, we talk about aperture, we talk about ISO, we talk about the effects that each of those has on the way a photo looks, as well as just the technical details of, what does it mean to have a fast shutter speed, or what does it mean to have a wide open aperture versus a closed down aperture, and then what does ISO mean? We don't delve too deeply into the uber techie stuff, but we do talk about that a bit, but really, it comes down to if I change the shutter speed how does that change how my photo looks? If I change the aperture how does that change how my photo looks? When should I care most about aperture, and when should I care the most about shutter speed, and we really work on kind of creating photos that communicate to a broader audience than just you yourself. So one of my students used the phrase that she had read somewhere, and I don't where, but the difference in doing an emotional portrait and a photograph, and we kind of laughed about it at first, but the more I think about it I think that's an important distinction. If I take a quick snapshot of my dog and it's not really in focus, and the light's really not that great, but there is something in that expression that just screams oh, that's my dog, that's like the essence of my dog. It doesn't matter about the technical bits. It doesn't matter if it's not quite as sharp as I would want it to be. It's an emotional portrait. I have an emotional connection to that. Now, if I post that online my friends are probably going to say oh, that's great, yes, that looks like Costner, that is so Costner, that's wonderful, but if I post it to a photography site in general, they're going to think I'm crazy because they can't see that emotion, they don't know my dog, they don't understand that, that is his quick, essential, expression. They think I can't really see what's going on in his face because the photo's a little dark, and I can't see his eyes all that well because it's really not that in focus, so what I really want students to do is to be able to conquer those technical bits, the sharpness, and the exposure so that they can make the soul of the photo really come through, and be obvious to anybody, rather than have all the technical stuff be in the way and mask the true soul of that photo, the true meaning of that photo. So that's a hard thing for people to do because it takes stepping back and really applying a critical eye to your photos and saying oh, yeah, I see how I can see the dog's expression, but I can see how someone else wouldn't be able to see it and read it as clearly as I can, because they don't have the emotional connection to the dog, to the subject that I do. So that's something that really has started to be a common thread in all of my classes. We want to move beyond the emotional portraits, and believe me, they have their place, you know, I don't have any beef with them, but in my classes I want to move beyond that and into something that can speak to a broader audience, and get that emotional connection across. Melissa Breau: So in August you're teaching a foundational class, and what's the other class that you're offering? Amy Johnson: The other class is called Chase the Dog, and this is kind of my wheelhouse, and that is dogs motion, so we'll talk about…I kind of break it down into two different kinds of motion. There's motion that's predictable, and motion that's unpredictable, so the prime example of motion that's predictable is agility, and you know, in general, there are always exceptions, but in general, the dog will go where it's supposed to go. There's a pre-established path, their obstacles are numbered. You do this one, and then you do that one, and then so I know when I can anticipate where the dog is going to be at any point in that run, so I can do things differently with that than if I'm just photographing a dog that is having a good romp in the field for play time, so that would be the unpredictable motion. So you let your dog out and you want to take pictures of it just playing around. Well, unless you set up some sort of fencing it just portions the dog's path, you know, you have no idea where that dog's going to go, so tracking that…camera's, you know, there's a limit to how fast they can track that motion, and then there's a limit of how fast I physically can track that motion, and this is where our fast dogs…you know, this is tough, there's a lot of skills, and a lot of practice that just has to happen of getting that muscle memory in you, and once you can track your own dog really well that doesn't necessarily mean you can track another dog, because all the dogs have a different rhythm, they all have their own unique characteristics about how they move. So the class is really about offering some skills for how to do both predictable and unpredictable motion, but it's also about setting some realistic expectations of what can I expect to get out of, you know, a 10 minute photo session with a dog just running and playing in the field? Well, you're not going to end of with every photo being perfectly in sharp, or perfectly in focus, and you know, a true winner. You're going to get a lot of junk, and that's okay, and that process of being okay with the junk is really hard, and take someone like me saying it's okay, I have those too, and what students in the class are going to see are a lot of my…you know, rather than just the edited versions, here are the ones that I kept, they're going to see well, here was a whole series that I shot, and notice how many of those were actually good photos, and notice how many of those were not so great. Here's my junk. They're going to get to see my junk photos. Okay, well, I better be a little more careful here. They're going to get to see my junk photos, and I think that's a really important process to understand that there's no camera in the world good enough to capture everything, so let's talk about what's realistic, let's talk about what you can expect, let's talk about ways to increase the percentage of those keepers, but let's also become comfortable with the idea that you're going to have some clunkers in there. Melissa Breau: Now I wanted to ask if there's one piece of advice that you can give listeners, something they can start working on today or tomorrow, to help them take better photos of their dogs, what would that be? Amy Johnson: The first piece of advice I give everyone who asks me that question is to get down to the dog's level, and it's really easy, and it's really basic, and it does not matter what kind of camera you have, but if you change your perspective instead of shooting the photo from your standing height and looking down on the dog, get down to their level. You know, if you've got a tiny little dog it may mean that you are on your belly in the grass taking a picture of that dog, but you will be amazed at how much of a difference that makes in the photo of your dog. If you don't want to get down to their level then bring them up to your level, so if you have a grooming table throw a nice tablecloth over it and put the dog up on the grooming table. Bring the dog up to your level. Just be on the same level as the dog that you're trying to take a picture of and it transforms the whole thing, so that's my go to piece of advice for anybody. Melissa Breau: That's great because that's something that people can really just go do. Amy Johnson: Yeah. Exactly. Melissa Breau: I know that we're talking about kind of a little bit of a different subject than we usually do here on the podcast, but I still wanted to ask you those key questions that I always ask at the end of an episode, because I'm going to let you go into photography related stuff if you so choose. So to start, what's the dog or photography related accomplishment that you are proudest of? Amy Johnson: There's the experience of going to the national and that's huge, that's great, and there's a feeling of kind of I've arrived with that, but the most recent thing that I'm proudest of is actually my experience at camp. I had five of my students that came and were my minions, as I called them, and they were the ones who actually did all of the photography for the events at camp, and being able to stand back and watch them in action I was really proud of them, and that was a more of a feeling of accomplishment than going to a national. Don't get me wrong, I love going to nationals, I love interacting with people, I love watching a great run, and then being able to find them later and say I saw that run and that was phenomenal, and it was beautiful, and I was so happy I was able to capture that for you, but working with students and then watching them take the skills they've learned in my classes and do that for others, you know, capture those moments, that was cool, that was really hard to beat. And now to extend on that, one of my sons is showing interest in photography, and he was able to shoot the jumpers courses at AKC trial that I had shot last weekend, and so again, when I had a break I went over to his ring and just stood back and watched, and seeing the next generation whether it's, you know, the literal next generation or just a new group of photographers that have come through my courses, being able to pass that information on has been really an amazing experience.   Melissa Breau: That's really cool because it's something that you managed to learn from your father and now you're passing it on to others. Amy Johnson: Exactly. Yeah. Melissa Breau: What is the best piece of advice, and this can be either production or photography, that you've ever heard, and bonus points if it applies to both, but it doesn't have to. Amy Johnson: The best thing that I've learned to do over the years, and I don't know that it's ever been told to me exclusively, but it's the thing that I have learned to do is to slow down, and to think, and to just breath, and so that is the thing that I try and tell my students all the time because there's this urge to…the action in front of me is happening really fast and so that means I have to grab my camera fast, and throw it up to my face, and press the shutter, and get the picture really fast, and it doesn't work that way, or it doesn't work well that way. So taking a moment to make sure your camera is set correctly for the situation you're trying to photograph, making sure that you understand what's going on in front of you, and can maybe anticipate what's going to happen next, and then just breathing because if you get out of breath or find yourself holding your breath because you're just so excited you end up messing it up more often than not. And that advice I think applies to dog training as well. Slow down, think, just breath, and that kind of brings you back to center, and lets you focus on what's important, and focus on what the task at hand is. Block out everything else that is going on around you and just take it one thing at a time, and the results will be much better. Melissa Breau: Bonus points earned. So our last question, who is someone else in the dog world that you look up to? Amy Johnson: There are two people that come to mind immediately, and it's not because of their dog training skills, it's because of the way they handle pressure in running their dog businesses, and so the first one is Denise. Who isn't amazed by Denise and the way she handles FDSA really, and not trying to get brownie points from her, but as a business owner myself it's really important to find those people who are running their own business, and who I admire how they handle that business. You know, Denise has the pressure of thousands of students. She has the pressure of all of the instructors who…meeting some of them at camp was an eye-opening experience, and I love them all, but I admire Denise even more for her ability to handle all of us and our quirks, but to watch her handle that pressure of both the negative and the positive has become important to me. I know one of her things is people won't remember what you say, but they'll remember how you made them feel, and that is a phrase that runs through my mind constantly as I am dealing with customers, or if I'm dealing with students, and even with my family. It's changed the way I interact with everybody, including my family, and to say in my mind, you know, yes, I really want to make that snarky comment, but that's probably not the best way to handle it because it's going to make me feel better, but it's not going to do anything for our relationship, and it's not going to do anything for them and the way they feel, so that's been a really good thing for me. The other person that I look up to for similar reasons is Carrie DeYoung, who is the head of AKC agility, and I work with her a lot because I do both of AKC's big agility events for the year, so I watch her and how she interacts with her staff, and then watch how she interacts with the exhibitors at those national events, and her calmness, and her…I have never seen her flustered. I'm sure inside there are probably moments of, you know, face palm, or screaming, or whatever, because we all have those, but she does a really good job of on the outside she holds it all together, and that's something that I don't always feel like I do very well, but watching her has helped me do that better, so she's another person I really admire in the way that she…granted, she doesn't own AKC, but she is the queen bee of the agility piece, and I just really admire the way she handles all of the…I mean, if you think about any agility organization there are things that people want to tell them to do differently, things they like, things they don't like, and to be able to handle all of that constantly takes some real talent and skill. I mean, I admire anybody who trains dogs because I don't have that talent, and I don't have the patience to develop it. I know that I could, but it kind of goes back to the whole I live with dogs that are dumber than me, and so I mean, I love watching good trainers, I loved coming to camp and watching all of these amazing instructors that I get to call my colleagues. I loved watching them work with people, and with dogs, and that kind of level of discipline fascinates me, so there's lots to admire about the training side in the dog world in that respect, but for me what's been most important is to find those people, and specifically, women that are at the top of their game and dealing with those pressures that come with being at the top of their game. Melissa Breau: Awesome. Well, thank you so much for coming on the podcast, Amy. Amy Johnson: You're welcome. It was a pleasure. Melissa Breau: It was. It was a lot of fun to chat. And thanks to all of our listeners for tuning in. We'll be back next week with Kamal Fernandez to discuss what it's like to be a man, in a female dominated job. Just kidding. We'll be chatting at FCI style of heeling and more. If you haven't already subscribed to the podcast in iTunes or the podcast app of your choice to have our next episode automatically downloaded to your phone as soon as it becomes available. CREDITS: Today's show is brought to you by the Fenzi Dog Sports Academy. Special thanks to Denise Fenzi for supporting this podcast. Music provided royalty-free by BenSound.com; the track featured here is called “Buddy.” Audio editing provided by Chris Lang and transcription written by CLK Transcription Services.

I took a bit of a sabbatical from the podcasting world to focus on other ventures and am so excited to be back here with you. I just poured a cup of coffee and if coffee is your thing, grab your cup and join me. It's summer time and just before recording this session, I listened to the New York morning orchestra: traffic hummed in the distance while birds and crickets sang in harmony. Simple everyday things that add spark into my life. To my right, however, I see yet another garbage bag full of stuff. Stuff that no longer gives me spark. Since flying back from San Diego, I've filled my car with more garbage bags and boxes than I knew was possible. Books, clothes, paintings, cups, plates, bikes — these are just a few of the items I've said good-bye to. Why? For starters, it's because I've lived out of a suitcase for four weeks while house sitting in San Diego and realize just how little I actually need in my life. Second,It comes down to one simple question: Does this add spark to my life? In her bestselling book The Life-Changing Magic of Tidying Up, author Marie Kondo asks us this question and it's amazing to me just how often I've said “No” when asking myself it. And now, I challenge you to ask the same question: What adds spark to your life? Try this, Spend just 30 minutes going through your possessions and ask yourself if they add spark in your life. Consider, as well, your relationship and daily habits. If they don't, consider donating them to a local charity, recycle them, or if need be, make their new home the garbage can. Consider this: we live in a tremendous world of abundance. Just the mere fact that you are reading this on a computer or a smartphone is extraordinary when just a generation ago only Star Trek could fathom such technological gadgets. Food, clothes, housing space, cars, gadgets — these are just a few of the many items we collect over the years. And it's so hard to let go of these items. Why? Because of emotional attachment. For instance, one item I couldn't let go of is my old 35mm camera. Full of dust, my Minolta hasn't been used since the darkroom in college. But I just couldn't give it up….yet. It holds so much sentimental value in my life. This camera and the photography classes I took literally opened my eyes to see the world through a new frame. It helped me tilt the way I look at things. But does it add spark to my life? No, not anymore. So, yes, it will be donated to my local high school's film class for a starry-eyed teen to utilize. What mostly adds spark to our lives? For me, it turns out it's the simple things like this hammock I now sit in, my “Be Good to People” mug gifted by Tim McDonald, and the people I hold close to my heart. What about you? What adds spark to your life? It's amazing how much we can declutter with this one simple question. When I sit down to write, podcast, or create a lesson plan, my intention is to add spark to the lives of those whom my work reaches. I'm proud to say that in the past couple of weeks, it appears that the meditations I created have added spark to many lives around the world. In these few days, over thousands of people have started their morning listening to one of the meditations. Want to tune into them? You can listen to them for free on Insight Timer or download them at yourlop.com Ladies and gents, that does it for episode 1 of season two. I'm so happy to be back and appreciate you for listening and sharing a part of your day with me.   If ever you wish to say hello or ask me a question, just send me an email at mark@yourlop.com.