159 Film Scans From The Darkroom.com
Editing photos from a recent set of scans I got from The Darkroom. The 1st roll through a canon Eos film camera. Film fade.
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Gear that I work with
Professional film stock I work with https://imaging.kodakalaris.com/photographers-photo-printing/film/color
I keep my camera in a Lowepro camera bag
https://www.lowepro.com/us-en/magnum-400-aw-lp36054-pww/
When I am photographing landscape images I use a Manfrotto tripod
https://www.manfrotto.com/us-en/057-carbon-fiber-4-section-geared-tripod-mt057c4-g/
A lot of my film portfolio was created with the Nikon N80 and Nikon F4
https://www.kenrockwell.com/nikon/f4.htm
https://www.kenrockwell.com/nikon/n80.htm
The Nikon D2H and Nikon D3 were used to create many of the digital images on this site https://www.dpreview.com/reviews/nikond3 https://www.dpreview.com/reviews/nikond2h
Two lenses I am using all the time are the 50mm f1.8 and the 17-40mm f4
https://www.kenrockwell.com/nikon/5018daf.htm
https://www.kenrockwell.com/canon/lenses/17-40mm.htm
Some astrophotography and documentary video work was created with the Sony A7r
https://www.dpreview.com/reviews/sony-alpha-a7r
I am currently taking photographs with a Canon 5D
https://www.dpreview.com/reviews/canon-eos-5d-mark-iii
I am Billy Newman, a photographer and creative director that has served clients in the Pacific Northwest and Hawaii for 10 years. I am an author, digital publisher, and Oregon travel guide. I have worked with businesses and individuals to create a portfolio of commercial photography. The images have been placed within billboard, print, and digital campaigns including Travel Oregon, Airbnb, Chevrolet, and Guaranty RV.
My photographs often incorporate outdoor landscape environments with strong elements of light, weather, and sky. Through my work, I have published several books of photographs that further explore my connection to natural places.
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159 Billy Newman Photo podcast mixdown Film Scans From The Darkroom
Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. Appreciate you guys checking out this episode. I think it’s getting into October a bit. And it’s cool. It’s kind of nice to have in the fall. Come on, and the seasons changed a bit, we had a bit of rain, and it’s been a little back and forth. And hope we get a little of an Indian summer with some nice weather sort of stretching out. And apart in November, hopeful for that. I know we felt like a couple of years of that in the past, but it seems like it’s a bit back and forth. And pleasant might not be the answer for what happens this year. But I’ve been working on some film scans. And I wanted to get into that I had talked to a couple of podcasts ago about how I had sent a roll of 100-speed actor film out to development house in I think San Clemente called the darkroom. It was like a website service that was suggested to me a while back, but it looks fine, or Yeah, they’ve got a website online that talks about the film development stuff that they do a lot of the like color film processing for 35-millimeter film work just great. And I think that they do a medium format and other types of film development as well. But I had taken a role of 100 Media actor film out of the camera after I’d finished it, I think on a trip back in August, and I had prepped it, put it in a mailer, and then sent it out to its place down in, I guess, Southern California. So it took a couple of weeks, and they set up an account, got my films negatively scanned, and then I think they sent the negatives back to me; I just received the envelope that I thought yesterday. But a few days before that, I got an email with a link to download a zip file with all the scanned images. And so I think they were JPEG format. And I picked the higher resolution scans, which worked out a lot better for me; I think there are a few different tiers that you can select from like, maybe starts at $12 for the basic scan, then I think it moves up to somewhere around 15 or 18 bucks. All in all, I think it’s been about $25 to get this roll of film developed and scanned and then mailed back to me. And it’s okay, and it’s like a good amount. But it used to be cheaper, and it seems like. I think like when I go to Fred buyer and do like the one-hour color film development CD only, which is I think I did a lot of it for a long time, especially like through like Walgreens or Payless or Fred Mayer or something like that, you know, and like stop. They pulled all those operating features out a couple of years ago. And then it was just stuck taking my film to a cool and old local shop that would do the C 41 processing there. And they would do like a 24-hour turnaround for your film. But everybody suffering from the same problem that they didn’t have a scanning system that was really up to the technology of the day when I think, you know, like I probably mentioned even way back when I was talking about all this film scanning stuff that many of the film scanners that they had that they’d introduced to a lot of the like the supermarket you know, department stores was a like two or three-megapixel scanner. And I think it was maybe for convenience or speed. And it’s probably still similar to that, you know, if you order the most basic scans that probably take the least time and are like the most efficient process through. So I do understand it, but a lot of those scans that I had automatically created for me through those departments or, you know, film processing when our photo rooms were just a couple megapixels, or you know, they were like 1600 pixels across anything huge nowadays. So that ended up being like a problem after a while. So what I ended up doing was I’d get the film developed. And then I ended up buying, and I think it was a Pacific image, prime film 7200, and I’m trying to remember what that one was. And then, I used film scanning software silver eyes. Now there was a silver package. I can’t remember the name of that film software now. SilverFast, I think it might be that, but it was. Yeah, it was this film, film scanning software that was pretty complex to operate. And then it was a pretty professional kind of scanning tool that you could make a lot of different changes and features to get better scans with whatever you’re working with. But you can make a lot of different adjustments to it. I had many more advanced algorithmic features to sort of repair spots and film scratch problems, and I guess we clean up a little of that damage. So you want to scan so if you just had the Ross game, you’d be really surprised or maybe not at how bad it is, or you know, just like a little dust or little artifacts seeming to be in the scan that doesn’t look correct and or just little pockmarks in the film emotion itself. You can get to see those like pieces of the film when you scan them. Still, the software really kind of go through a sort of tune that out a little, I was always really kind of surprised to see some ways to get a handle that positively you know, you look at like Photoshop, and it’s really kind of a hit or miss sometimes the fiddle filling correctly. So it was a cool piece of software, but it helped me down or help me scan a bunch of film negatives that I shot; I think like a lot of the stuff that I shot with the f4 is where I do the C 41 film development, get the negatives back. Then I would have to like to spend. It would be like two days after that, you know, just kind of like hobby time now just kind of like putting a scan in and then letting the scanner kind of run through it for 45 seconds is sort of what it seemed like it was just this big, grinding motor noises, it ran this scanner head over the film negative with a big light. And you get these pretty good scans from your negatives. And I think it’s probably still some high-resolution scans from some of my photographs that came from that private film scanner. So I was happy that it did that for a while. I think that was what you know, 2000 maybe 1617 or something like that, that I’d worked with that. That film scanner a lot earlier, it isn’t that maybe I think 20 1516 then I’ve kind of moved into the Sony Ace of our stuff. But yeah, the film scanner stuff was cool. And I was happy to kind of get to go through that part of it. Yeah, then you get the bump of not having to pay for the send-out services. And then you also just can get the less expensive film development part of it. And then it sort of feels like you’re doing the darkroom work again, right? Like you, you know, you, you have to kind of have to do, you’re not doing it, because you’re sending it, you’re sending it to a place just to get that one part that has developed the film. But now, once you have the negatives, they haven’t been made in anything. So it’s kind of like working with the older tools. I never did that. I was always into the digital field of it but through working with the film now. And as it is like 2020, or at the time like 2014 1516, it was cool to kind of have it be like a different set of tools, but still kind of work with film photos and film negatives to make cool images and cool digital art or cool digital, or things that were distributed through a digital mechanism. But were still created through like a film system. Yeah, I was just I was kind of like the like that for the side kind of hobby photography, stuff that I would work on. So I think now, in the future, I’ve gotten rid of that Prime film scanner; I sold it on eBay A few years ago, got a good price for a lot of those pieces, I was able to kind of sell-off again for near and around what it cost me to get it, which was cool. I think like I had like a photo printer for a long time, like some higher-end 13 by 19 photo printer, I was able to sell that off eBay for a good price to digital stuff, you know, like cameras and stuff sort of start to depreciate, but now a lot of things kind of hold their value well enough if they’re functional. But I saw that stuff off for a while. And then now what I’m working with is, I guess the idea of just sending it out to a dark room, or you know, just some servicing some facility that will process my film, and then return it to me with some high-quality scans. And I think now, as I can do it, I want to try and get higher quality scans of the files. I mean, even still, that’s a setback that I have is that I still have the negative in a big negative storage box over here, which is great. And the problem is, is that the available file that I have available to me to make art out of images out of is just not much better than like what you know, like a two-megapixel file or something. So it’s okay for some web use. But, for printing, even small photos, it’s a little crunchy in the file size. So I’d like to go back through and take a bunch of those, this film negative strips, stack them together, mail goes off to one of these processing centers, like the darkroom, and have them go through it. Scan those files again and like a higher resolution in whatever kind of professional capacity they have to do so and then send those back to me. And then I’d have all new scans, all new versions of those images that I can go back through, edit in different ways, or you know. I have more control over the file and how I can use it, and I can finally use it on some of the more modern art stuff that I’d like to do. Like to make a print some of those things, you know, I’d like to make a canvas brand of some nice film photograph I had in the mountains, there’s a number of them that I think is cool. But, as it is those, those photos aren’t available to me to do that kind of work with because I can only make them maybe five by seven, maybe eight by 10; you can extrapolate it out to a byte. And that’s fine. But it’s not an art piece; it doesn’t seem like that, that nice, that high quality, just because the files are just so tiny in some ways. So we’ll see if that kind of changes. I know there are some ways around it too, but, but if there’s a way that I can kind of just get it from the natural source again, that might be a cool way to go about it. But for this role of a film, what I did is I imported those photographs over to Lightroom. And using that x touch controller that I was talking about, so I have kind of some knobs and sliders to kind of move around and mix the color as well you know that development settings of the photographs that I brought in, and I’ve been kind of trying to mess with that a bit to see if I can get used to it or see if it kind of hits most of the points that I want to be sort of strange, you know, the tools sort of affect how you make adjustments, how you make edits, how you kind of see the edits and stuff. So it’s interesting to work with some different tools and see how that changes a few things. But for the most part, yeah, it’s been going cool and I just kind of cruising through the photos, you kind of pick out the winners there, you know, the flagged as pics, photographs. So I go through, and I mark those photographs up. And then I kind of go through and make some color adjustments to this sort of individually. Start with some basic development settings and then go into some lens correction stuff that is tricky on a film camera. In Lightroom, there’s no metadata from a digital camera to import over from a film scan or from you know, just some scan, that’s a JPEG from, you know, just, it doesn’t know what camera you had, it doesn’t know what lens you use, it doesn’t know how to affect the barrel distortion. So some of those things, you have to kind of select for a bit more manually if you do understand if you do know what it was like, well, I had a Canon camera, and I used to I 17 to 40 f4 lens. And I think you can go in and pick that. And it’s I’m not sure how it affects it or if that distorts effect is the most accurate profile now that we’re working with a different camera and a different wall and the same lens. Yeah, so I’m hoping that it’s just like the lens profile affects that frame the same way. But it seems to be very subtle. So the barrel sources stuff sometimes is something I work with, but also they don’t, you know, sometimes I think part of that part of the photographic effect is sort of what the lens does to the picture. And sometimes, I’d like to leave the barrel distortion effect in the photographs. Sometimes many rounds seem to happen or just sort of the light, and it’s extraordinary when you see the adjustments have, you know, before and after a barrel distortion adjustment. Because it’s just like it’s the same image. But there’s just like a little of flexing and just some parts of it, and you think wow, like what is a weird, subtle change, but like, I guess that is flattening it. Or maybe it’s not, and maybe it’s distorting it more if it’s incorrectly calibrated. So it’s just kind of interesting to, to see how that is and how it sometimes looks, but that I’ve had help photographs. And I’ve also had it sort of digging up the composition of a photograph just in the way that it would stretch it, it was sort of Paul, a few things out of line that I’d hoped to kinds of composing in a certain way. Like if you’re trying to put something like right at the top of the frame, or right off the frame that Yeah, I just sort of pulled and stretched it so that it made the composition changes that I was trying to put in, not work. So I’ve noticed that a couple of times. I think it crops it a bit to make the distortion occurs. So you just use like a little shaving off the edges of the photograph to make that barrel distortion kind of fit the frame again. And then sometimes if there’s something there some kind of context or detail, like I think like imagine you framed up like a page of newspaper texts or something, you know, right up to the corner where the letters meant the up, or you know, the x and y-axis of the photographic frame. But then, if you added a barrel distortion, it might swing or press or stretch that text out and off the composition of that frame edge there. And that’s sort of the types of things that might have happened before I use that example, I guess because you could kind of visualize sort of the flexing or stretching of a page of text that was just supposed to be flat, you can kind of imagine it was kind of pulling off or drifting off or, or not being squared upon under the page in the same way as it would have been at the corners. So that’s where some barrel distortion stuff can come in and bite me, but To better, I guess it’s straighter, or it doesn’t have the vignetting that it would have had otherwise. But there’s Yeah, no controls for that sort of stuff for the film camera. And it’s a feature I use a bit but maybe not necessarily all the time. So it was going through editing a bunch of photographs and stuff. There’s, I think, a lot of images through there; I’ve been pretty slow to shoot through this roll of film, I’ve been doing a lot of stuff. Probably with like the digital camera, and other than that 360 cameras I was into. But yeah, let’s go through and shooting. I kind of shoot her alongside the digital photographs that I’m taking out on a trip, you know, if I come up to some bento thing, and I think I’ll take a film photo of this. Then I pull it out of the camera bag I have with me and try and shoot a couple of frames, but I was going through mark it up, the flag picks editing up. I was noticing, and I’m not sure if it’s just this camera. This is the first roll of film that I put through this Canon EOS camera, and I think it was seen as like champagne-colored plastic. Oh, champagne-colored plastic camera body. It’s like champagne. It’s I think we’re supposed to be like silver. It’s like plastic silver is a sort of what they were going for. I don’t know if it worked out, but it’s probably 9098 9099 eras. And it’s fine. It’s, it’s, but yeah, it was inexpensive. I think it was like $$3040 on sites like KEH, or you can probably find similar models on eBay. And I’m sure other sites too. But yeah, it’s easy to kind of pop in there and tries to check out some old kind of inexpensive Canon cameras; you can get rebels like a rebel film camera from 2000 to 2001. Area for just dirt cheap, like $$166 It depends on the model or the quality, but they’re very inexpensive because a lot of those produced a lot of them, I think sold during that era, too. And yeah, it’s cool, if you want to, if you want just to grab a camera, which is cool, too, you know, the film cameras stuff is nice, because you can get an SLR for again like I was saying maybe less than $20 if you shop around correctly. It’s just a black box with a lens, you know, and you’re able to control the features. And when you’re able to hit the shutter and capture an image, then you’re able to expose that onto the film. And that’s what you’ve captured. So it’s cool, you kind of have you don’t have to worry about some of the same features, or you know is it is this high enough technology is good enough does have low enough noise has enough buttons on it is some of the stuff that we kind of think about when we’re trying to shop around correctly for the right camera, when we’re working in a digital space, you know, you pick out like a point in issue, you find out it’s like, doesn’t focus at all, or you know, it takes a long time to do whatever thing or the images kind of come out maybe a little yellow, or they don’t, the lens looks a little funky, or whatever it is a lot of cameras now they’re almost all great. So it doesn’t matter. But they’re always, you know, better or as good as the types of cell phone photos you can get now, which are all pretty stellar. When you think about the type of technology that you’re able to use. I mean, imagine back to like, even ten years ago, even in 2010, let’s say, you know when it was actually kind of developed thing when camera phones have been around for maybe seven, eight years, pretty, pretty widely. Then even at that time, when it was quite popular. I mean, I think Instagram was a working mobile application near and around ten years ago, could be 2010 2011 is right around now ten years ago that Instagram started taking off, right. And then, it was in 2011 that they sold to Facebook. Now it was in 2012. It was in February 2012. And I joined in February of 2011I think I think that that’s right, but I think they started right around now, ten years ago. So that means Yeah, mobile photography was taking place. But if you remember right, that those filters on Instagram were created to correct or justify how bad the cellphone cameras at the time were you take a cell phone picture, I had no contrast; it was very yellow, it wasn’t a sensor that was responsive enough to the low light environments that we’d often be in even in like pretty well-lit environments that would kind of pull out this sort of yellow kind of photo that would just be grayed out in this film would do that forever too. But it just really look as high quality as it does now. I mean, it’s amazing the kind of low light conditions that we’re able to get one of these cameras to operate. And then that is just a simple film camera. I mean, now you look at the iPhones that have come out or like the new one that they’ve just announced, and it’s just insane and stellar cameras that they’re able to do Right now, so it’s cool. That it’s just like, the lenses. Can they fit on the front of that thing? Or, you know, it’s wild, but it’s cool how well you can cache your images now digitally. Back in what? 2000? Yeah, I was like, or 2010 it was kind of yellowed images and stuff. I don’t know. So the stakes. Alright, it’s cool that I guess it’s getting better. It’s nice that goes, but yeah, for a lot of what I said, the phone camera that I had, is great about doing a podcast and the film camera that I had champagne colored. Got it? Okay, ah, for 30 bucks. I think the images This time turned out a little soft is probably what I would say. So sort of similar to an older camera, like an older digital camera with that kind of yellowed images, I shot a roll through this camera, which is the first one. So we’ll see if it reproduces the same effect as I shoot through like another role, and maybe a more organized, or, I guess, thoughtfully considered lighting condition. But what I noticed is that, yeah, the film developed in a way that had like a bit of haziness to it, and I’m not sure what caused it; I mean, it could have been a light leak, but it didn’t look like the light leak kind of condition might have been like maybe closer to like something like the expired film is sort of what it looked like, where it just didn’t really like turn over. And it just sort of looks like a little grayed out in some spots where I would have thought it would, it would be like a little crisper, some photographs came out fine, and do look very crisp, and do look very bright and colorful like they were able to capture that the color quality of the light at the time that the photograph was taken. And so that might be like a more just like selective opportunity thing that happened like maybe the photographs they were taking were in conditions that would be bad light as possible, but, they’re, you know, I mean, I took digital photos against it right there. And really like film photographs should be able to handle some backlight, or some kind of sidelight that’s maybe going to be a little hazy or something but big, it’s going to seem like a few photographs were a bit washed out and how they ended up developing sort of how it goes with a lot of films I remember losing like several frames are roll-on that Nikon F g 20 that I talked about sometimes that like manual focus, manual wind film camera that I had a photograph, like a bunch of stuff back in, like 2012 2013 with that camera. And I would lose like a couple of frames a roll and just the operation of how that camera worked. Like it would just kind of crunch a frame, or it wouldn’t wind it correctly. And you have to like why’d you just have a racket again, the way it’s built, you can’t like back it up or double, double expose or anything like that. So you just have to, like, crank it over again and shoot. And then, you know, whatever happened in that frame, so you just get like a black one or, you know, some white frame that never developed. And that was always kind of like, but it was also similar to the N 82. Or with any, any one of those auto wind film cameras was similar to this can, and once you put the feed of the film into the camera body, you put the canister in the film. And then once you’ve seen that, that door shut on the camera, once it latches, it’ll kind of auto wind will grab the end of the film and then wind it up on the other side so that it’s matched up and then ready to go at frame one. But I do remember as a couple of times when it would be just kind of like the mess that up, or it would grab like a few too many frames at the beginning of the roll to kind of wind it in before it figures out where it was. But I’ve kind of had that happen or, even near the end, when you’d shoot. And you could have shot maybe one more frame on it or two more frames on it, but just the way that it would count, it would stop and then auto wind back. And remember, like a couple of kind of tricky things with that or like where you take a picture, and then it would wind to the next one, like auto winds to the next roll or the next frame the role, but then it would fail at that, then it would shut off, then you’d have to flip the switch, turn it back on. And then it would, and I think wind again like I’m saying because I had a wind air that would wind out again. And then you’d like to lose that frame. And I remember, I remember dropping a bunch of frames to that as a bummer. Probably it’s not that much. But it’s just sort of the cost of domes. It seems like with some film stuff, if you do know what you’re doing. And you can kind of anticipate some of those problems coming up. There are some things you can do to mitigate it. I think that’s sort of what makes a person like, you know, a skilled operator that trades versus someone else that’s not, which might be me. So it’s kind of what I’m talking about. It’s just like, well, try this out. It didn’t work well. And that’s the frustrating thing about people that want to get into some Film photography, you know, it’s cool, it’s cool to pick up an old camera at a flea market, something like that. And then you grab a roll of the film where you’re going to get, I mean, we’re going to get a higher quality roll right now you kind of have to special order it or just ordered on Amazon, it’s not that special. But, you know, Amazon Prime, some roll the actors, you know, some kind of nicer Kodak Portra throw it in the fun camera you got you can also probably get that Fujifilm stuff at a local-ish place, probably most, I think you can probably get it at a bigger department store, though it’s rare. Now, I know it’s kind of rare. But I think you can get like the Fujifilm 400 in many spots. That’s it, though; you’re not going to get any other kind of film stock just publicly out; you’re going to have to go to a camera store. If you’re in a city, you can probably do that. Otherwise, it’s still kind of I mean, you know, like a midsize town probably, but it’s still sort of, sort of special and probably right now it’s odd to get something like that, you know, during the COVID-19 lockdown pandemic stuff, I’m sure it’s limited access. So yeah, online order 15 bucks or ten bucks or seven bucks, something like that to get the professional films Doc, and then it’s going to be 25 bucks, or so like I have just found out to develop that roll of 36 frames. And it might be that the camera was bad, or that something failed, or that a battery didn’t work, right, or that the meter is blown out now and that all your photos are overexposed. But I’ve just heard so many times and have experienced so many times that like, you know, a piece of the film failed before it was developed, or the exposure process of the film in the camera is messed up in some way and therefore doesn’t develop properly. And then it’s like man, like, you know, you’re in, you’re in it a bit to find out that I guess it wasn’t as satisfying as I thought to get this roll of film development. And that’s what I hear about, yeah, kind of the hobbyist stuff that I get into some film stuff. But if you can, and if you can get past that hump, it takes about four or five rolls of film to getting past that initial hump of what is this and what am I doing and what happens when I put it in here and what happens when I take it out. If you can kind of think your way through that, then you’ll be in a good spot. That’s at least how it was for me back when I was trying to get into it was a kind of understanding how to get the film and get the film going get some shots in. But there was a bit of a curve. And then when you get the film back, you kind of discover to Okay, like that’s when I did this in the photograph in it, it works better, or it didn’t work, or you know, like you try and do like some exposure compensation thing. And it’s a guy that was too bright. And then you learn about bracketing or something like how photojournalists used to do back in the day when they’d have to, like, lose, like, I don’t know if it’s going to work out, right. So they’d have to bracket that exposure, you know, a bright exposure, a mid-exposure, and a low exposure hoping one of those was the properly metered place for that photograph. And that’s where you get like bracketing systems on some higher-end professional DSLR. Now you can kind of go into some of those deeper features find bracketing. And that’s how HDR photographers kind of set up some of the intuitive ways that they might approach capturing HDR images, setting up the bracketing to do something similar where they have one, one f-stop overexposed, one even exposure, and then one f-stop underexposed. I think that’s right, where he adds like bright, mid, and then dark. And then they’re able to combine those tonal ranges to make something that has a higher dynamic range. And they use that sometimes through a process called bracketing that sort of automates that exposure change for every three frames. So you know, high, mid-low, and then again, high, mid-low, and then again, high, mid, and so on. It’s kind of cool that they were doing that, but I think that’s what they would do for some of the actions he was is that they would have to do some photojournalism in I think they use that in Vietnam a lot. That’s sort of what I had. And I know that it’s existed as a thing outside that, but I think it was part of some press and though that were deployed, or that were embedded with the military over in Vietnam, I think they would use a lot of bracketing techniques to try and get exposures out of the field. I guess it was kind of difficult, you can imagine right, but yeah, I think that’s like one of the ways that they were able to do that. So yeah, bracketing stuff is kind of cool. Or to kind of do that, so you can see like the framing or light in the frame and see like which one exposes better, but yeah, that’s cool going through a bunch of film photographs and stuff going through my first roll of film out of that Canon camera has been pretty cool. It looks nice; the scans are nice; the darkroom did a good job; they look good there. I got to like the superfine quality scans. So I think there; I don’t know if they’re maybe 12 megapixels or something around there. Maybe a little more than Then, you can kind of zoom into it pretty well. And it seems like it would print up to a reasonably large size. I think it’s, it’s probably like, what is it a 24 or 22-inch print? Somewhere around there, as I think probably would, it be well-rated two. So it’s kind of cool. I think I’m happy with those brands; I’m going to try them out in the future; I might try another couple of competing film development services to see how those are going and see if there are any differences or, or used to speed the service or something. But really, it’s so long for me to get a roll of film shot through that, at least like right now, or at least without some specific need of it. That hasn’t worried me too much. But I do want to go out and try and try and work through a roll of film a little more specifically; that’d be kind of cool. I should do that on one of these rules. Soon. Upcoming desert trips, I’ve been trying to be a little more to some of that stuff. So I’ll talk about some of the more outdoorsy desert stuff coming up here real soon, too. But yeah, it’s been cool. October is a good month, and you know, a lot of stuff is going on. But hopefully, that kind of keeps going through smoothly. So I’m going to try and keep up with some campus stuff. Keep up with some photography and film stuff. And yeah, I learned through a roll of film a couple of good ones on there. Some specific photos at some time. But yeah, you’ll see them around. They’ll be up on the website at some time. But yeah, thanks for listening to this episode of The Billy Newman photo podcast. You can see more of my work at Billy Newman photo comm. You can help me out at Billy Newman photo.com forward slash support. It’s a donation-based system, sort of like Patreon there are different levels and stuff if you’re interested in it, or you can make any donation or contribution that you would want to the podcast and if you’re interested, go to the about page contact email address or through the contact form there. I love to hear from anybody that’s listening to this podcast to check it out. Thanks a lot for listening to this episode of The Billy Newman photo pack.