160 Black And White Photo Conversions
Working with the gray mixer in Lightroom, adjusting color dynamics in grayscale. Black And White Photo Conversions. Strange gig working on video at a Permaculture farm.
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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.
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
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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
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Link 160 Black And White Photo Conversions
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160 Billy Newman Photo podcast mixdown Black And White Photo Conversions
Hello, and thank you very much for listening to this episode of The Billy Newman photo podcast. appreciate you tuning in to this episode. What I wanted to talk about today with some of the black and white conversions that I’m trying to work on least talk about that for part of the podcast, I wanted to also get into some odd photo jobs that I’ve had in the past weird stories, you know where gigs that you have, I think that’s like one of the more interesting parts of trying to pick up a career in photography, not to burn a lot of bridges. And these are going to be weird ones that never worked out. So I never will work in these places, again; it is sort of how it seems, but yeah, there’s just been these weird one-off photo jobs that I’ve taken or that I’ve looked into in the past. And I don’t know. Weird experiences come for that sort of stuff. So want to talk about that a little bit. And probably some, there’s a list of them by now that you just kind of try and keep on the back burner. But first of all, to talk about some of the black and white conversions that I’ve been trying to make, I’m going through Lightroom, what I’m doing is I’m making a separate map collection, what is it, there are collections, there’s your catalog, then there are your photos in your library in your catalog. But then there are collections. And I think that is what I’m talking about collections within the library of certain sets of photographs that you’re trying to do something with. And you can make a virtual copy to move over to that collection. So you can edit that separately from the main photo or the other photograph that might be in your library for another reason, or you can also have them just kind of back and forth. But you guys, so what’s cool is I want to try and go through I’m cutting through my photographs, I’m grabbing a bunch of them that I think would make a good black and white conversion. And I’m sending those files over to a collection in Lightroom. and run it on kind of black and white or whatever. And what I’m gonna try and do is go through all those photographs and then make specific adjustments to them to do different kinds of black and white conversions. And what I probably really worked on specifically in the past, so I’ve definitely done black and whites. And there’s a lot of different features to do in black and white. So there’s a lot of the time that I like with the color to black and white conversion stuff that we work with a lot of the time, it’s sort of an automatic monochrome adjustment that happens, or you’re working with something even like Instagram, or more complex than that, where you just apply a certain type of black and white adjustment to a photograph where it’s high contrast or low contrast or deep blacks or whatever it may be, or blues or something, you know, we start focusing on the color, but in the black and white environment, then you kind of adjust those different, there’s just different ways to make the black and white look different ways. But that’s the more complex side of it. But a lot of time, what we do is we just hit like, make it monochrome button, and then it just kind of reduces a lot of the color information out of the photograph. I’ve done that for black and whites way back in the past, and it’s you just kind of get these sort of more gray-toned photos; they’re all kind of at that 50% gray tone zone. But there’s not really like a strong black or a strong white to give it that kind of sharper look that you would get out of a more developed or more focused on kind of black and white image or in even just the recreation of something similar to like the effect that you would have seen in some like Kodak Triax film or, or whatever it was Triax I remember being kind of Midtown that maybe that was just my development environment. I’m not sure, but I remember when I was shooting, that was back in like high school film class, you know what? Yeah, like actually did do the darkroom stuff for a day. And I’ve never yet had enough roll of Kodak Triax film that was black and white. And I remember the photographs being a pretty myth, kind of flat-toned prints that I got back out of it. And that was, I think, kind of the prop that just the experience of what I went through in the process. But I don’t think that was like what you have to have. Anyway, that’s not to say that I’m trying to go through these color photographs that I have these raw files or these film photographs that are colored JPEGs. And I’m trying to go through and identify certain things that I want to try and bring over to a black and white conversion. And I tried to do that in a different way than just making them monochromatic and trying to go in and try and do some like color mixer adjustments, like I was kind of mentioning and kind of focus on a specific color profile that’s seen in the photograph, but then making adjustments to that color range. While it’s in a black and white view. It’s kind of strange to think about but imagine like you had someone and just a person smiling, and they’re in a blue shirt. Just a royal blue shirt. And if you were to adjust the blue slider while looking at the photograph in black and white, you could bring up the brightness of that shirt or make it darker and bring out some more contrast to that shirt. And those are the kinds of color adjustments you can make just to that channel of color in a black and white mixer. And that’s what I think is kind of cool about sort of focusing on some of those black and white conversions. I don’t know. That maybe sounds silly. But if you go into black to the, I think that like near around the HSL section, you can hit black and white, and then it’ll bring you over into the black and white, gray mixer. And then you can grab the red tones and drag those too dark or light. Or you can grab the yellow tones, or the blue tones, or the violet tones or something like that, and drag those up and down. And you can kind of focus on the different parts of your image as it relates to how it was interpreted through the color profile. And you can make changes to that. And its contrast and sort of the way it appears in the black and white mix of it, which is really cool. And what it allows you to do is, is concentrate on like a specific color there or you know, if you identify. Oh, this is like a distraction in my photograph, and I see it’s it’s a purple color, maybe off in the side of the sky or something like that like you in the gray mixer, you can just drag that purple part down, if it doesn’t interfere with, I guess, another main section of the photo. But if you find just like a certain section of the photo, okay, this needs to be tuned down a little bit; you can grab that and pull it back. And then that kind of changes the dynamics of it. I’ve definitely noticed it in like photographs of the sky. When I’m taking pictures of the sky. There are different tones in between the white and the grays. Especially in the sunset, like when you you’re dealing with that all the code, you need to deal with the whole spectrum of oranges and reds and a lot of yellows. And then you have a green and the foliage below but also a lot of shadows at that time because you’re dealing with kind of that weird backlight of the landscape, but also the low light and direct light of the sun or of something near the sun. And like a lot of clouds that are lit up against it. I was just working on a film photograph of that. I think from where it was, and it was a recent shape, it was upon that mountain peak that I was talking about a couple of podcasts back. But when I was up there, and I was taking a photograph, there’s this cool like a cloud. After sunset, I think the senate got down, and then the only thing that was really illuminated in the sky was this big bright kind of red to pink to orange, the yellow cloud that had kind of stretched up in this width, sort of like a little filament kind of stretched up in this Wisp and then carried off to the southeast, for like a third of the sky or something like that really cool, beautiful, beautiful cloud formation and stuff. It’s cool. And it’s cool to see those pieces light in the sky after the sun is set. But when I took some photographs of it, and then kind of look at him in the mix, where you can do is it’s beautiful as a color image. But it’s also kind of interesting to sort of seeing some of the texture dynamics; we switched over to black and white, which is what I’ve kind of tried to check out. And so with all those different color ranges, you can grab those in the black and white, and sort of make those contrasts differences bigger between the two photos or like you can just kind of adjust the brightness of it, as you see it in black and white, and pull out some structure the photo that you really can’t see otherwise, it kind of gets muddy, you know, it just gets blurred out, if you take all those colors and then just reduce it to gray, you don’t really see too much. But if you start working that that mix or a little bit, you can kind of make some variation between those colors. And then you can kind of start to see those textures come out in different ways that you hadn’t seen before, in this black and white image. And that’s kind of cool when you’re able to do that also works really well on the skin like portraits of people, if you go into there, and then you’re making a black and white image of a person, you can really work the towns around the skin channel, the towns around whatever else is around. And I think it depends on the lighting sometimes, like people can have a blue cast color on their skin. Some people can have a definitely like a green cast color, or and most often kind of an orange and red tone in color. It’s another skin. It’s like the lighting condition that was where the source light came from. It’s kind of interesting how that can be. But sometimes, it could be like the way it was captured or something. But yeah, it’s like, if you’re like a shadowed area, it’s going to be a more blue light unless it was maybe like a more warm tone wall that you’re getting the bounce off of. But if you’re in like one of those more cool-toned, shaded environments, then it’s going to be those cool tones that you focus on when you’re trying to make adjustments to the colors in the face. But you can kind of notice that what I do is I kind of go in and grab whatever color I might think it to be that I want to make a mix on and I’ll try and drag it to a pretty extreme position first just to see where it’s getting effect. Like what’s being adjusted. So like, I’ll drag it near up to like 100%, let’s say, and let’s say like we’re looking at a picture of a person, a portrait of, you know, just kind of like a person’s face, and then it’s in a shaded environment. So it has sort of a blue cast to it, but their skin is also still sort of a warm tone. So you’re not sure it was this is going to be in a blue tone section that I need to make adjustments to. Is this going to be near like an orange or yellow area, where I need to like make adjustments there? And it just kind of depends. So if you grab it, you grab the blue, and then you crank that up to 100. And you see the area that it affects severely. And if it’s the area you meant to adjust, then you can make real subtle adjustments to that and make a correction, make it you know, bring that way back down that three to eight or seven to 14 to one or whatever the adjustment that’s appropriate is, but you can kind of make this kind of fine-tune adjustments to make the highlights and shadows and darks have just a little bit more tonality to them in their black and white conversion. I think that’s pretty cool. And so I’ve been trying to go through specifically, you know, pictures of some people that exist in the past. Like, I think I have a black and white conversion of a photograph of a man playing like a cigar that’ll, or it’s like a cigar box, you know, like, like scars that come in a box. Sometimes this is a cigar box. And then I suppose as an old-timey thing, and you can make that into an instrument. That was a fiddle, where the box served as like the body. Like if you imagine a guitar, you know, like it was the body of the guitar and the strings came up the neck, but it was really tiny. So it was a fiddle. So cigar box fiddle, a man, and a costume was playing. at an event years ago, I made a black and white conversion to this portrait. But I’m also kind of going back through that taking a color version of that, and then sort of reworking it and making a different black and white color version of it. I’m trying to kind of take notes of it as I go to sort of seeing like what kind of changes that I’ve made in the way that I’m kind of thinking about how to do it. And it’s cool, but I’m kind of trying to go through photographs like that. And then make black and white versions of those or a lot of landscape photographs too, that are kind of cool, especially ones with Cool, well-exposed elements in the sky. Or a lot of like the midday photos, like I was saying like I really love the colors and the saturation that you get with like the sunset or sunrise colors, or the kind of low golden light on the horizon. It’s kind of cast near sunrise, or just after sunrise, or just before sunset. I think that’s really cool. But so, I really like working with color specifically. And I’ve never really been one to kind of think that photography is all about the lines or whatever it is. I think it’s more than that. So I’m not super set on thinking that black and white photography is a better form, or a minor, like a more. What a very before that, like, you’re just sort of fooled into thinking colors are cool because you like colors. So you think like colors are cool. So sunsets are cool, but really, lines are cool. That’s what I hear, heard, or hear photographers kind of try to teach sometimes. And sure, sure. But we’re beings that are pretty organized around color. So I think it’s pretty reasonable to understand and see and identify with the color more than the shape or the line. And it’s sort of the artists to sort of blend, blend the line between how it’s seen and understand the line in the form is really important to understand how it’s seen. But yeah, color school. So I think colors was for, you can definitely use color photographs. But this one going through some black and whites, making a bunch of conversions going to try and put those into some kind of larger collection of images, or some landscapes. And some photos of us or you know, like photos, portraits, and portraits of the people and stuff that are taken over time that be a good black and white kind of collection together. Kind of going back through doing different types of types of edits, makes you kind of think about photos a little bit differently. So yeah, it’s been interesting most of the time, I’m just kind of going for like a sharper and kind of picked up color photograph of the same thing that I took a picture of, and a lot of the time and not really even thinking about the black and white conversion that I should make out of it or you know, not really thinking about a picture that I’m making it in context of it being a better black and white photograph. So it might be kind of interesting to try that out trying to think about things as being captured in black and white think about the form the line the shading, the the kind of gray tone and stuff of it. So it’s kind of cool to check out, but there’s a lot a lot you can kind of learn just from working on the photographs that you already have. And that’s really a good way to do it to work on those photographs. even got to see the changes that you’re making to old stuff and then you can kind of know a little bit about what what what was it that really popped when I took it and made it a black and white and you’re really gonna notice It’s not, it’s not like things of color that you thought were interesting is really like form and lines and sort of like compositional things. And that’s what’s really cool about about that is you can kind of kind of look at the shape of the photograph shape the the way you’re using a frame, when you’re thinking about some black and white stuff more just because you want to make whatever is black and white, you want to make those lines seem interesting to look at. And you kind of think about that a little bit more when you’re taking pictures in that format. But it can go both ways. And, yeah, it’s really cool. Just regular landscapes that are that are beautiful color photos, I think are really interesting to kind of convert over to black and white where you can like pull out those textures and clouds and sky shape, or sky patterns above and landscape forms stuff, it’s really cool. So black and white conversions working on I’m still working with that mixer that x touch Beringer compact mixer, pretty cool, works really well with the grain mixer. So that’s also kind of what inspired me to get into this section of it a little bit more was, was being able to just work on like a mixer board, like you would like an audio mixer. And like, oh, I’m gonna grab the red channel, bring up the brightness. And that grab the blue channel, bring down the brightness of that make a local adjustment with the mouse in the photograph, like you normally would then go back to the channels, make some adjustments, adjust the contrast, the texture is really cool, you can just kind of drop in and kind of physically make those operations. And, and you can also make a really extreme adjustment, like I was talking about you just like crank that slider all the way up, see the big change, that’s good, and bring it back down to two or four, whatever, you know, real subtle adjustment. So it’s been cool, I’ve been appreciating getting to get to work on some black and whites. I wanted to talk a little bit about like photo work that I’ve done in the past, like photo jobs, you know, when you’re, you’re starting off as a photographer, it’s kind of a weird industry, or weird kind of job to grab, to kind of go after, because you’re not gonna find a lot of like businesses that are hiring for that in a way that actually has like a lot of relevance. Do you know what I mean? There’s a lot of like, and I’ve had these jobs too, and they’re really pretty good employment for being in your 20s. and stuff, it’s fine, but like kind of working like a marketing department or something like that, where you’re doing some sort of media-related element, but it’s also just sort of like a job, you know, but for some of the just photography gigs that are out there that you do earlier on than that, where you’re just kind of trying to pick up some work and trying to like grab it some stuff. It’s kind of interesting. And like I’ve done a lot of those really even like that’s just like, like more of what it is all the time is where you’re just operating your business, you’re looking for work, you’re trying to make contact with different people that might be clients. And if you’re working in for like, commercial environments, it just kind of goes in different places all the time, where there’s a lot of variety and things. And also, just as a photographer, you have to kind of pop into different things where you do real estate, or you’re doing weddings, or you’re doing portraits of people or you’re out in the woods, trying to capture, you know, trying to get landscape stuff or trying to get some kind of, you know, different kind of unique thing or you’re working down more commercially for someone just in sort of a routine way. So there’s like a lot of different paths to it. And over time you kind of pop into like a bunch of different ones. But there’s this one job I wanted to talk about. I remember I was thinking of it, because it was this time in October, way back that, that I think I walked into this job, but I was looking around, I think it was on Craigslist. This is sort of what I mean is like you go into Craigslist, you go to gigs, you look IT admin and search for photo, and you see what comes back, and then you send out your CV, or your business information to those people say, Yeah, I can take a photo with that, I guess for you for some price. Yeah, it’s a good time. So I remember hearing back from a place that I had contacted that was a permaculture farm, a permaculture farm, okay, and they needed someone to do media for them, or I think it was someone who like do some photographs and some video for them. And I think they wanted someone to be there for like a full time kind of thing. And it was weird because like, I remember when I got there. I went to this town, it was different than the one I was in and went out. And it was like, outside of town too. And then I go out there. And it’s like a, I guess like a cold. It’s not a cold, but like I think they think it’s a commune. It’s not a coal, but they they were just like in a keen Wah and stuff. But it was weird. Yeah, it was like a permaculture farm. They wanted to have a bunch of like recruitment videos and stuff are a bunch of photographs for their flyer so I remember going there and like walking around this permaculture farm like photograph and like little chickens that were run around the garden and stuff and then talking to like these different people. And, and so the next that was fine for the most part. I think that obviously use some of those photographs and stuff, but I think the next one that I did was like a video interview section where I had to kind of do like a dog documentary-style video interview with was just them that were that was videotaped. And they would kind of talk about, you know, what’s this farm about? And then they would talk about that. They’d say like, oh, our vision for this farm is whatever. And then they would, you know, kind of put that on video seven. So they’ve talked for a while, and I got this videos and stuff, but I remember like kind of looking at like their work and stuff. Like I guess they were supposed to set up a farm. permaculture, permaculture is kind of weird. I think it’s supposed to be like low impact agriculture. I think it’s a little more than foraging. I think my understanding is that it’s sort of like you’re setting it up to be foraged, but also, really, there’s so there’s people at Forest or people that people that have been doing projects in the outdoors forever, that have been doing this kind of kind of wilderness husbandry where they’re trying to like manage a piece of land to be the most developed the most natural, but also the most productive that it can be. So I think it’s been so there’s been kind of going on for a while I do understand there’s differences in commercial farming, or even like local organic farming, where you’re doing a lot of kind of kind of traditional agricultural practices, or traditional gardening processes that are a little different than the ethics behind permaculture. But yeah, I think they’re really into setting up these permaculture gardens. But when I was out there, I noticed he had no gardens, or they had no they had nothing prepared. And then I remember looking at this other thing where they’re they’re walking around to like videotape these different sections of their beautiful establishments. They’re the grounds. And I think they’re really, really proud of this like pit that they had dug. They just like dug this hole, like, like, like a three-foot by maybe six-foot, or is a three foot deep hole that was maybe six-foot wide, but two-foot wide or something like that. And they said that they’ve been working on that all summer. All right. I don’t know; it seems like there’s like 20 people there. Is that what you get that over a whole summer? And then they took me over to this other thing, though, I think was supposed to be like a gray water wash. It’s like, yeah, there’s, there’s systems that have existed for that for a long time. And it seems like people still put those in all the time. So it could have been a lot of it was very unfinished. The next thing that they did, though, or the next place that they took me over to was like this, this cabin that they were building is supposed to be like a green insulated cabin. But it really was not. It was like it seemed like a crazy project. He was like none of them had a background in doing construction stuff. But it just seemed like it was kind of this patchwork plywood shack that they were trying to put together. And I think they were like putting, I think that it was far enough along with they were trying to do was put like a wireframe in and then put hay and mud in the walls to act as like a strong insulation. And then I think they were going to cover that over again, and then put the more finishing layer on it after that. But also, I don’t think it was that, that well thought through. I think it was a sort of I don’t think it was a blueprint kind of idea. Do you know what I mean? I think it was just sort of like, well, we’ll just start start one of these. And a lot of fine building projects are like that a lot of people can do just fine. doing that. But man, this one was a first-timers thing. So it looked like a playhouse or everything looked like a playhouse with mud, kind of smeared over the walls, mud and hay smeared over the walls. It was prepared to be continued. But they said that they’ve been working on that for like four months to and then I think it’d been in about the same state for about a month. So I guess what I’m gathering is that just with all these people here, doing whatever at a permaculture farm, they want to do a video a videographer or photographer to come in and capture capture the spirit of this place. But yeah, good jobs, right. So it’s like, it’s that kind of stuff that comes up as a photographer where you just kind of like showing up to this weird thing. And you’re kind of like brought into this weird environment that is, it’s just like a different experience. Do you know what I mean? Or it’s like a, like a weird place to kind of pop into plenty of other stuff too. Like just the weird churches I got popped into weird family dynamics you get punched into when you’re doing like a family photo shoot? Those are strange weddings are normally pretty light. Because there’s so many people there. It’s really like one of the more low impact circumstances you have. But like yeah, the wedding, or this or the church directory photography. That was a strange one. The stuff in Maui, you know, just as that is like, it’s just like, Oh, what a weird dynamic it is to like pop over, you know, just like different kinds of things. Like I was saying, as you do overtime as a photographer, it’s like, oh, I guess I’ll do this gig, elevate over to Maui. Do some photographs for a while. That’s cool. But yeah, just like weird stories that come up from that sort of stuff. We’re dynamics that come up for that sort of stuff. Or like, like I was saying, Yeah, this this permaculture farm, down out in the country, out in the woods and yeah, it was just around babies. Like, I think it was, I think it was like a guy was like a younger kind of hippie dude who was into this stuff and sort of into that culture. And then yeah, it was like a team of people. And I remember them trying to recruit me. I think that what they say, yeah, watch out for this movie like this ever happens, right? But what they told me was, what if we don’t pay you, and we let you live here? If you go through a process or something like that, like so I was working for them already, but they didn’t want to pay me out. They just wanted to let me like, live on the property. Because I think they didn’t want pay anybody. Right. But I think like that was sort of the come the community work ethic thing that they’ve got, but like, yeah, it’s like no one gets paid. I mean, what a utopia, right? No one gets paid. But you work but you live there in the commune in your food and sleep needs are mad, I guess. I don’t know. I remember kind of looking at the looking at the environment. It seemed like maybe there was a bunk for me. But also I think a lot of people were just in a tent out in this big kind of weeded field. Yeah, I could have done that. I was thinking about this. I got Shabaab out here live in a tent. Now. That’d be pretty rough. So I think I worked with them for I think, like two weekends, three weekends. And then it sort of started to disintegrate where they just like really wouldn’t communicate. Well. That’s sort of the other stuff. That was too Yeah. Like we were clients and stuff that they kind of pop in and pop out. So I think I try to get pretty quickly paid out by them. And then some other side gig that kind of came up with that. delivered the video stuff later. That was weird. I went to Yeah, they’re just like, I don’t know. You got to pay. I’m not gonna live there. But yeah, we’re Yeah. We’re permaculture farm. Yeah, but the photos from that were cool. And for like I did, I did a fine job with that. I remember just chasing some chickens around with weird little poops on their head was like, I don’t know, some other kind of chicken. It wasn’t like the normal one. But it was like these weird little birds. And yeah, but young people that were over there and live in there and work in there as part of a program learning about low impact agriculture. Pretty fun, too. Weird job. And definitely not worth like, three weekends of working for a while I was like 150 bucks or 200 bucks or something like that I was stupid. So there’s a lot of those kind of gigs that come up where it’s like, well, this is a lot, a lot of driving a lot of times out there. And it’s like, I don’t know, they think they’re gonna pay something like, like a low wage, like a low working wage if you just had like a, like a part-time job or something like that. But it’s like, well, but this is my business. And I’m only going to come out of here for a couple times. And then I have to like do something that you would want to have out of it. So wait a second, what’s it gonna cost? Or what’s what are you gonna pay me? Like? I don’t know. I don’t know if that kind of stuffs worth it. So yeah, good times. But I have plenty, plenty of jobs that kind of come off like that. I’ll probably talk more about that permaculture farm sometime in the future. But But yeah, plenty other weird little jobs to get to also maybe talk about like the church directory went to that one. I learned a lot of stuff, as well. But man weird experiences. Yeah, just kind of like popping in and out to photograph these church directories in different areas across Portland. That was a weird one. I’ll try and talk about that one, too. Yeah, other fun photo jobs coming up in the future. Yeah, so I’m gonna keep working on these black and white conversions. And keep trying to head out and do some camping trips and stuff. During the week, October has been pretty cool, been able to kind of pop out and do some stuff up in the parts of the Cascades that are doing well. And the further Eastern Oregon stuff also can act with the coast stuff, too. That’s been cool. So getting to kind of travel around a little bit has been been kind of cool. And getting to do some campus stuff is definitely fun trying to work on some photo stuff, but kind of goes slow go sometimes, but the Fall is beautiful. It’s really cool. So like Harley supports it. It’s nice. But yeah, it’s, I guess probably what most of this podcast will be about work on those black and white conversions a little more. I think in that I want to try and put some, I want to try and put some prints together. As somebody is a cool like I haven’t really seen him like this before. So I want to try and go through those black and white photos, make some prints, and then maybe make a simple printed photo book or some of that stuff too. A lot of photobooks stuff I want to try and do that’s kind of what I’m trying to go through these edits for is to to get some stuff that’s more print-ready. So that I’m kind of double-checking the file the file size, that’s a big one where you know if I posted it online before and it was edited up in some certain way. The file size probably wasn’t prepared for like a large print making process and most of its lighter. Most of the changes to the photos are in Lightroom. So trying to get a bunch of these prepped and ready to go so that I can print them large size or print them in a photo book or, you know, print them on the canvas or something. And then I’m kind of going through and making those finer adjustments to stuff that I want to see taken care of before I had a photograph solidified into a print. So it’s kind of cool to talk about more thanthan the printing stuff sometime coming up on future podcasts and stuff, but it’s cool. So yeah, thanks a lot for listening to this episode of The Billy Newman photo podcast, you can see more my more of my work at Billy Newman photo.com. You can also support this podcast by going to Billy Newman photo comm forward-slash support, that’s where you can drop in donation of any amount or select to subscribe to the podcast in a way where you can pay some amount per month to help sustain the work that we’re doing over here to do some photo stuff to talk about some photo stuff and kind of like a value for value system, you know, you get the podcast for free, always. But if you think you got any value out of it, and you feel like you’d want to convert that over into a payment or a donation to me to kind of continue some of the photo stuff that I’m up to, then it’s always appreciated. And that’s really how part of this operation goes. There’s also other options over there too. If you’re interested in getting a hold of you for some photograph, or some photography work, or I don’t know other photo related business stuff, but you can find it all at Billy Newman photo.com. So thanks a lot for listening to this episode of the podcast.