Untitled Recording 02/23/2013




J: Hey Lucus!

L: Hey, is dad around

J: Yeah hold on; let me go get him (Julie to David)(it’s in here. Yes, it’s in here! I got if for you by the computer)

D: You got a pen?

M: Yes

D: Ah... hey

L: Hey

D: I just go off the phone with mom so...

L: Yeah.

D: What’s up?

L: Okay, yeah... I just needed to talk to you about a couple of things. Let me get this out... 

D: Those night pictures didn't come out?

L: No, not really. Umm... What I want you to do is... Well we can start out with that... So... Lets see... Okay first of all the composition is off. Let me see if I can pull this up

D: Well, I went to were you told me to go. 

L: Yeah... I just didn't realize how far away it was. So umm.... Why is this program... Umm.... (Scrolling and clicking in background)

D: They’re expecting snow tomorrow

M: In NY

D: No here! It’s suppose to be 28 

M: We’ve been expecting snow the past two mornings. 

D: Yeah I know. 

M: And we haven't gotten it. 

L: For some reason it won't let me delete that. Give me a second. (Still clicking) Okay so... for the night shot... First of all I kind of forgot how dark it gets at night because living in the city it doesn't really get dark. So what I want you to do is shoot just as the sun is going down. Like set up and shoot right as the sun is going down. That will give you the best results. That way you still have some atmospheric light left that is going to sort of fill in the sky. Because I don't want that black sky. I want it to be a kind of dark blue. 

D: Mhmm

L: So go there... Say that again. 

D: So you want the sky dark but not black

L: Not black 

D: Not black. Okay.

L: Do go there... Maybe get there around sunset and set up. Now that provides for... Well... you run into a lot of problems when you do that. One of which is the light is changing quite a bit.

D: I see.

L: So your metering is going to be completely off from when you meter for all the scenes like I told you to the time you set the camera up and take the photo. So what I would do is take a general meter reading for the scene and then just bracket quite a bit. Like do three stops under, two stops under, one stop under the exposure it gives you, and then one stop over, two stops over and three stops over. So you’ll end up with like seven images. 

D: Jump two at a time? 

L: No just one at a time. 

D: One stop at a time.

L: Keeping in mind you're only changing shutter speed, and aperture. So that’s what we went over last time. 

D: Like we did last time. 

L: Yes, change the shutter speed, not the f-stop. 

D: Now... See... Let me double check. That was... ISO 400 and aperture 11.6

L: Yeah that sounds good. And just change the shutter speed.  

D: That’s what I had last time?

L: Yeah. So that’s great... Uhh... Another thing I want you to start doing is shooting raw plus jpg. That will sort of make it easier for me to look at photos on my phone. For when I'm not at a computer, because I'm not at a computer very often these days. First of all you guys will be able to see the photos on your computer. 

D: Wait a minute.

M: A regular SD card. 

D: Wait so that’s just a regular SD card. 

L: No, no, no It’s just...

D: What’s RAW?

L: Okay let me just clear some things up. I've been having you guys shoot in raw which creates a CR2 file that you guys can't look at right?

D: Right. 

L: So what I want to change it to is to have the camera shoot that file, which I'll use for editing, and a small Jpg file. So its basically going to create two files or images every time you take a photo. Do you have the camera with you right now?

D: Julie, can you go get the camera? Now that’s three stops over and three stops under?

L: Three stops under, right.

D: At dark 30?

L: Right... Well get there in time for there to still be...

D: Yeah I'll get there early. 

L: Light in the sky. That's essentially what I wanted. I want it to lower the contrast. Okay so... Let me go get my camera.

D: What you making? Soup? (To mom in background)

L: Okay... Umm... Do you see a menu button on the back of your camera?

D: Yeah... So hit menu.

L: Yeah.

D: Do I have to open screen? 

L: Yeah there should be something on the screen now. And on my camera it’s the first choice. It says "quality."

D: What's that?

L: On the back of the camera, after you get the menu button a menu should appear. There should be something that says quality.

D: Wait a second; it says no card in camera. Do I need a card in the camera? 

L: No, you shouldn't need that.

D: Okay... Quality? I don't see that. 

L: Okay, can I see the back of the camera? Is that what happened when you pressed menu.

D: Yeah...

L: Ummm...

D: Now when I hit it again it looks like this.

L: Yeah, yeah, yeah. That’s what you need. Okay so... You see

D: The first exposure

L: Yeah what you want is... there’s a bunch of different menus and you need to scroll the wheel on the top of the camera till the first little icon is highlighted. 

D: Quality? Okay.

L: Now, select that by hitting the little button on the back of the camera.

D: Okay.

L: And it should come up with a menu. On the top it should say raw with a few different choices. Below that it should say jpg with a bunch of choices. 

D: Right. 

L: With the wheel on the back, select the one-second from the right that says small with a curve next to it. 

D: S1 or S2? I got two s1s, an s2 and a s3

L: Let me see. On yours is different

D: I got the S1 selected. The first S1.

L: Umm.... yeah that should be fine. And now hit the set button. 

D: So that’s the first S1? 

L: Yeah that should be fine.

D: Oh I see the difference ones curved and one's stepped.

L: Yeah you want the one that’s curved. Is that the one you have?

D: Yeah. Okay I'm set.

L: Okay, so what that's going to do is create a duplicate of every image and its going to be just a small jpg that you can't really do much with as far as printing but it will give you guys something to look at just a feed back and it will give me a way to see images on my phone. Umm... So now that you got that set...

D: You just hit menu again? To get out of this?

L: No, just hit the trigger button. 

D: Oh, okay

L: Now... lets talk more about the gas station photo. So essentially we have too much empty space in the image. 

D: So we are too far away?

L: Yeah. So what I want you to do is move more in front of the building, so you are looking more straight on to the building, not completely straight on but more straight on. And I want you to shoot so that the sign, the top of the sign, is hitting the top of the image and the bottom, where it meets the ground, is the bottom of the image.  And maybe a little bit of road. 

D: Lucus, that sign is of to the right

L: Yeah I realize that. 

D: I don't think you’ll be able to get that sign. I can't be in front of the building and get that sign in the photo. I need to get off to the left. If you look at the building.

L: It’s to the right.

D: Yeah it’s to the right, which means I need to go to the left. 

L: Yeah you need to go to the left but not nearly as far as you were. Because you’re...

D: Well I did two different images. I did one straight across and I did one on the same side of the road. The only way I can do that is to be in the middle of the road. I did two sets of pictures. I did one from the side.

L: Mhmm

D: And then I did one catty cornered in the parking lot of the barbershop. 

L: At the barbershop… Well what happens if you get on the corner that is on the same side of the street? Across the street though? Like… 

M: At the lumber place?

l: Yeah. The corner of the lumber place. What happens if you set up there? 

D: I... I don't think I can get the sign if I'm there. I can try... Well I may be able to get the sign... 

L: Well yeah because you’ll be looking more or less straight on. I think it will fill it up rather nicely. Well it’s hard for me to tell. Hold on; let me get on Google maps real quick. (Scrolling and typing)

D: Well I can get the sign but its going to be at an angle. I can get it but you’ll be looking at the sign... you know... Sideways

L: That should be fine.

D: I'll try.

L: I'm getting on Google Earth right now. 

M: Lucus, would you like me to try, or get your dad to try that images tonight with my camera and me upload it to you since it won't take that long to upload just one image. 

L: Yeah I might have you do that... I actually wanted to talk to you about the images you are taking mom. Umm...

M: Okay. I've got some pictures to upload. 

L: Okay I'm looking at it now on Google earth. Let me see if I can... Can you guys see that?

D: That's from Google? Wow.

M: Yeah that’s from the street from a car?

L: That’s the composition I more or less want you to have. 

D: Ohh... Okay.

L: So um... 

J: But in the evening.

L: Yeah so... You’re going to see the name of the building. You’re going to get... now it fills up the frame pretty nicely. Now you’re going to be across the street, or actually you may be able to get on the same side of the street. I don't know how wide that camera can go. But you may be able to get on that same side of the street. 

D: On the corner of the filling station? 

L: Yeah on the corner of the filling station. So I wanted you to do that... and yeah work on that. I don't actually think you need to take that one with your camera mom... Uh... I do want a lot more images from around the house. 

J: Okay I have some on my camera to upload. 

L: Okay let me see. Umm... Okay another thing I want you to try and do this weekend is setting up a scene. Like setting up a scene with lighting and everything. I wanted you to shoot the crawl space of the house. Could you do that?

D: could I do that? 

L: Yeah could you do that?

D: Well yeah but I'm worried about that beam I got down there. I don't know how good it's going to look. 

L: A what?

D: A beam. A big support beam. 

L: That should be fine. I don't really remember how the bottom of the house looks like but I drew this sketch kind of form memory. So like you got the ground here. And this is the corner right here. And then you got this one big beam and then the supports. And I wanted you to use the floodlights to create the composition. You see what I'm saying?

D: Umm...

J: So shoot in the corner of the house

L: Yeah like you're looking into the corner, incorporate the beam 

D: Well Lucus you got... we don't have those verticals

L: Well we got some verticals? 

D: No.

L: No? No, we have some verticals

D: No we don't we have umm... what are they called... floor joist. 

L: Well yeah. They don't look like that but they look big don't they? 

D: Yeah but those are horizontal. The floor joists are horizontal with the ground. We don't have any upright beams like what you're showing naturally. Now I got that support beam I put under there and I got center blocks under it.

L: Yeah okay, that will look good. 

D: But that's not the way it’s actually built.

L: Well that's great... uh... where is that beam? Like on the floor plan?

D: Uhhh...  I think its right down the center of our bedroom

L: Okay... I think that will work. So shoot under the bedroom. I want that beam to be in the images like that meeting roughly at the one-third point. Don't have it meet in the middle. And then include a couple of the center blocks. And I want you to use two floodlights to illuminate the scene. 

D: That might be a problem. 

L: Why is that?

D: I think only one of them is working right now. I'll have to go get some bulbs for them or something, which I need to do anyways.

L: Yeah. 

D: It might, it will probably be Sunday before I get around to it.  Or maybe Saturday 

L: Okay umm... try and get around to it and... Well preferably I need it... well I need a bulk of images by Saturday night, or Sunday morning. 

D: Well I can get you a bunch Saturday but I don't know if I can get you this under the house 

L: Okay that’s fine. We can still talk about it though. But... Um... What I want you to do is use... Well you can do it with one floodlight but I think it would be beneficial to have two and have them facing away from the camera. Don't have them facing towards the camera and have them... Have one floodlight illuminating the other floodlight if that makes sense. 

D: Hmm? 

L: So have this flood light over here pointing... shooting towards the back wall... And then... This is a really bad drawing. So have this floodlight here and then have the other one here illuminating the other one. 

M: Okay do you need the floodlights in the pictures?

L: I do want the floodlights in the picture.

M: Okay.

L: That’s why I want one of the floodlights illuminating the other. 

M: Okay.

L: And to this, it’s going to produce an extremely high contrast light, which I don’t want. So what I need you to do is make multiple exposures again. And I don't think you’ll be able to get a tripod under there. So maybe try and get a small bean bad or something and set that under there to put the camera on. And use that... basically take a meter reading for what it says it should be and then do the same thing I told you to do with the night shot. Do three stops under two stops under one stop et cetera et cetera. Like that. That way I can mask in specific areas of lightness and darkness to get the image

D: Okay will I still be able to shoot 400 ASA?

L: As long as the camera... you will have pretty long exposures down here, but as long as it is on a sand bag... Like don't... have it on the sandbag and use the two second thing I showed you for this as well

D: Okay

L: So press it wait two seconds and then it will take the pictures. And once again adjust the shutter speed not the aperture. Now, mom, this is something you can do but dad I also want you to do this, I want you to start taking landscapes of parks around here. Like Lake Murray and what's the big park around their where we go fishing sometimes? 

D: City Park?

L: Yeah city park

D: Now what are you calling landscapes now?

L: Well I'll send you some photographers that I want you to look at. But like a landscape you know? A landscape

D: Well what do you want in it? Like trees? 

L: Well that’s why I'm going to need a similar thing to what I had mom doing around the house. I'm going to need some notes. So mom, you can take your little camera and drive around and shoot around the park. I can then use those as notes. I've tried to use Google earth to get in there but I can't. This week if I could have you two shoot around City Park and go to places that you and I go to. You know? Like you know that place where we took the RC rock crawler at Lake Murray? You know, the big dam? Where we kind of hiked around a little bit?

D: Yeah

L: Go there, shoot some notes. Wide shots in every which direction. You can send me like 200 images if you want. Just as many as you can. Mom you can do the same. And do you remember that Geocache we went to that ended in that man made pond?

D: I don't know if I can find that again. 

L: If you can't that's not a big deal. Do you still have the GPS? 

D: Yeah.

L: Okay, maybe if I could find the coordinates to it I can send them to you.

D: Yeah.

L: But that's not a big deal.

M: Now at City Park you want me to take photos down by the lake? In the little fishing walk our pier?

L: Yeah, the fishing walk out pier. And I also use to go fossil hunting there all the time. Do you remember where I use to go fossil hunting dad? In that creek bed? 

D: Yeah. 

L: If you could go down there and take some pictures.

D: Okay.

L: Primarily, if you walk on that concrete trail about a hundred yards and then you walk off the trail and you get into that little waterfall area. Go down there and take some notes down there. And then go up the creek a little bit and see if you can find some gravel beds and take notes there too. Now if you see an image there that you really like, by all means take some time and create a good composition... I want to show you a couple photographers that I can use to talk about composition. For doing landscapes, even though the camera is fast enough do handheld, I would recommend using a tripod because it forces you to spend more time thinking and composing the image. Rather than just snapping the image. Now, from these notes, I'll guide you more. Okay real quick do a search for a photographer named Timothy O’Sullivan. I can send you a link. Well let me see if I can find an actual web site. Did you pull them up?

D: Oh, you want me to pull them up now?

L: Yeah.

D: Oh I didn't know you could do that while Skyping. 

L: Yeah you can. Or I can actually send you some links. He is a...

D: I'm going to just put O’Sullivan. I don't know how to spell Timothy

L: T-I-M-O-T-H-Y

D: O hold on... T-I what?

L: M

D: O 


D: Where’s the delete at? Oh. Why isn't this this working? Oh, that will work. O’Sullivan. Nope... Photography. 

L: Just go to images on the Google page.

D: I hit enter. What happened? Is it waiting?

M: Yeah

D: Oh okay

M: My computer is slow

L: Okay... so... I just wanted to talk to you for a little bit about landscapes. The landscapes I wanted you to produce are going to be Simple, more or less, wide shots. Now...

D: I should be able to use that other lens hu?

L: I would stick with the 24-105 for now.

D: Really?

L: Yeah. You might be able to get away with the other lens but most likely the 24-105 will be just fine. Ummm... 

D: Its not responding due to long running script.

L: Umm... 

D: Well, I'll have to look at them later

L: Okay, well look up timothy O’Sullivan, and Ansel Adams... uh... what are some other landscape photographers. I had some written down. 

M: We probably have some books. 

L: Yeah look and see if you have some books. I think those two photographers for the time being. Go to McDonalds. The have Ansel Adams prints on the walls. 

M: Oh really?

L: Yeah 

D:  I think they remodeled and took them down. 

L: Oh when they put the new play center in or whatever? Well that's a shame.

M: The whole restaurant is very gray now. 

L: Well... basically what I want is, I don't want distracting thing in the foreground. SO try and not have trees and what not in the foreground. 

M: Okay 

L: That way you can focus more on what's out there. It shouldn't be that hard. Just try moving the camera around. Try and get to a high vantage point that should be good. Or a higher vantage point. like if you get on a big rock or something. Now, the stuff I'm going to have you shoot around the creak, you aren't going to be able to do that with, but those aren't really going to be landscapes, but I still want you to create those notes for me. So I can think of things to shoot and get you guys some good compositions.

D: Okay 

L: So I want you guys to take notes at city park, Lake Murray, umm... like you know, coming home form work dad, just pull over to the side of the road. If you see something, like if you see really open expanses with maybe a house on it, shoot that for me. Or if you see the line they cut for the oil pipeline, can you see that pretty well from the road? 

D: Hmm... Some places maybe.

L: Try to get a picture of that as well.

D: High lines.

L: No, the oil line. 

D: Well there’re all high lines. 

L: Oh are they? Okay and then a pad that has been capped. Take a picture of that. But remember when you take it to be on public property. Especially the oil field. They won't really appreciate that.

M: Yeah. 

L: So... 

M: They're doing a lot of fracking around here. They put up I think two right up by your dad's office. 

L: Yeah well we use to drive by them on our way to work. Okay... Umm... For some reason my hard drive is being difficult. This is ridiculous... Umm... Give me a second. Umm... Wait... (Scrolling and clicking)

(Mom playing with dog in background)

L: Okay for some reason I can't find that continuation. But anyways, I really need some notes from the workshop. Uh... Some notes from the workshop and then from behind the work shop.

M: Okay.

L: Let me see if I can find that... 

M: I need to go ahead and pull my SD card out and get it uploading tonight so I can work on this other stuff this weekend.

L: Yeah that's a good idea... Okay um... A couple of things I wanted to tell you is that most of the images turned out great from the ones you sent me. Um... The ones of the angel, I mean not the angle but the one from the back of the yard are really good. The one of the motorcycle. The one where you shot the sign through the windshield. that was really good. 

D: Oh?

L: Yeah, give me a second. 

D: I didn't know I was doing that. I wasn't trying to get the sign; I was trying to get the motorcycle. 

L: That's kind of what I figured because the motorcycle is out of focus actually

D: Oh really 

L: Yeah but the sign is in focus. But I think it works really well. I'm happy it happened. Um... 

J: It’s an accident haha

L: Yeah. I'm just waiting for some files to export... these are not what I needed. 

J: Not this Friday but next Friday we are going to Oklahoma City to the car show

D: New car show.

J: Yeah the new car show. 

L: The new car show?

J: Yeah it’s this big thing out at the fair ground.

L: I think I have been to it before maybe. 

J: Yeah?

D: No I don't think so.

L: Yeah you’re probably right, I probably haven't gone. But the shot of the emblems, I didn't really like. I don't think they came in on time for me to edit last week. What I want you to do is, you kind of shot them from above but at an angle. I want you to shoot them from above but straight on. So you are probably going to have to get on a ladder or something.

D: I was on a latter.

L: But its still... well maybe they didn't all come through because...

D: No... You’re talking about the dental cabinet thing open?

L: Yeah.

D: I was on top of a latter. 

L: You couldn't... 

D: Well not on top of it but I was probably two or three foot in the air. 

L: Hmm... Well that’s the one I'm trying to find right now. Those are the ones that all came in late and so I didn't get a chance to edit them last week. 

D: Now I can get higher... Now what did you think of me having a box of emblems on top of the thing? Is that okay? 

L: Let me see if I can find them.

D: Because it looked... You know a cabinet with noting on top of it doesn't look too good. So I put a box of emblems on top and sort of swapped them out so I got different emblems in the picture. 

L: Yeah that’s good. I like that. 

D: Yeah I just sort of pulled a couple different boxes of emblems and put it on top of it. But I can get hire. I can get a hire angle. Like I said I was only two or three feet in the air, I can defiantly get hire. 

J: Yeah heights don't bother your dad. 

L: I'm having troubles finding them. I don't think I downloaded them actually. But I know I looked at them online. Umm... Yeah basically what I need you to do is be looking straight down at the drawers. Not at any sort of angle, but directly down. SO you're going to have to maybe even hold the camera out. 

D: Yeah. 

J: So above. 

L: Yeah directly above them. 

J: Okay.

L: Ummm... I also want you to go through and shoot some details around the shop. I can't really be too specific right now because like I said I don't have any notes. But just sort of go around and don't rely on the overhead light... I mean once I get some notes I can be more specific about what I want, but you can use those flood light to bounce off the wall and give some nice lighting and shape to everything. I'm trying to think of the lighting in the shop but I know it isn't too great. It’s sort of all over the place actually. 

J: Its fluorescent lights. 

L: Yeah. 

D: Now do you have those lights you bought at that garage sale? Are they still here? 

L: Oh yeah you're totally right. You can use those. Only... Well actually I think a lot of them work. I think there are like eight of them that work. 

D: Are those strong enough.

L: I mean yeah. You may have to shoot with a tripod but they should be strong enough. 

D: I'll have to go out and see if I can find those. 

J: Now for the notes inside the garage. Would you like maybe a picture of the latter going up to the attic?

L: I literally want everything. Like shoot in the attack. Shoot a wide shot of everything. Shoot basically the whole 360 of the shop. And then get in close. Even open up draws if you want too. I literally want over a hundred images of that shop. 

J: And the screwdrivers on the little thing on the wall.

L: Exactly. And do the same thing all around the house. The more images the better is all I can say. And I also want you to do this around town too. Places that is specific to me preferable. 

J: Maybe like jack and the box?

L: Ahhhh... maybe jack in the box... but... Remember the optimist club I use to volunteer for? It’s in that old run down place downtown. Do you remember?

D: The bicycle place?

L: Yeah the bicycle place

D: Ahhh... Its not there anymore?

J: Yeah, its not there anymore.

L: I mean the building is still there?

D: Yeah the building is still there but there’s nothing inside. 

L: Just shoot the building. Just go there and get some notes for me. Like shoot wide. Shoot what's around there. And shoot pretty close to the buildings. 

J: Like SOTC?

L: Well those places are tricky because they don't look that interesting from the road and second of all they are private and I don't think they would like people taking photos of them. Especially the noble foundation. 

J: Okay.

L: So those are going to be tricky. So well worry about those later. What else... I want you to... well I can actually do a lot of it on Google earth... well a lot of it at least... but I want you guys to do it too. Um... Okay... Um...  How many images do I have for you guys so far? 

D: Hmmm....

L: Oh okay, I want you to shoot... Let me bring up these... Is the house still pretty much in a constant state of not being finished? 

J: Yes.

L: Okay, I want you guys to shoot some of that. 

J: Okay. 

L: Umm... You know how.

J: The doorframe to the hall in the kitchen? The laundry room?

L: Yeah. The one thing I thought of is, you know how the floor has that white paint splattered all over it in some places? 

D: Yeah.

L: Clean up a nice size square of it, like mob it or something, and shoot it straight on. 

J: Okay.

L: Frame it so that you only see the paint splatters on the floor. And then, with that same splatter I want you to... Isn't there one right in the... like when you walk right in front of the door, in front of the book case, isn't there a big splatter right there?

J: Your dad stripped it

D: Yeah I think I stripped that one. 

L: Okay... where’s one at? Do you know off the top of your head? 

J: I think there’s one in the middle room

D: There’s a couple

J: we just have those foam mats

D: can we pick those up easily?

J: Yeah 

L: Oh yeah, you can shoot the foam mats too if you want

J: Okay. Yeah I bought your dad some foam matts. 

L: Yeah they were there this summer. 

J: Yeah 

L: Okay... let me see... (Tying) So... So basically this week I want you guys to collect more notes.  And I have a couple of images... I mean you guys have a couple of images that you're ready to shoot right?

D: Yeah 

L: So finish up the... reshoot the gas station one. And them maybe I’ll have you shoot a very similar one of Jack in the Box. I'm trying to remember what else I wanted you to shoot. For the Optimist club... let me see if I can find it online real quick

D: we took a picture of that already... 

J: No.. 

L: I think you guys did but it was a pretty straightforward image. I want something that’s a little more... (Scrolling and clicking) Oh um... you know that building that is on A street I think? Yeah. When your going down main and you hit the tracks. The building on the left has that old Pepsi sign that is faded and you can barely read it? 

D: Yeah 

L: go ahead and shoot that. Just um... Step back a little bit. Get the sidewalk in.  

L: Okay, umm... what were we talking about? 

D: The sign over there by the tracks. 

L: Yeah, shoot that. 

D: Now you said you wanted the road in the picture... There’s a gra.... 

L: Hold on you froze... Hello?

D: Hello

L: Sorry my Internet froze. What were you saying? 

D: I don't think you can get the road in the picture of that building because there’s a little lawn right there before the sidewalk. 

L: No I’m looking at it right now and there’s just a sidewalk. 

D: right up against the building that’s got the sign? 

L: There’s a grass lawn across the street. 

D: I could have sworn there was a grass lawn. Anyways...

L: So... shoot that. Shoot that kind of wide. There’s another sine that you can’t really see but try and get that in as well. And end it at the top of the building. Okay... let me see... Okay so the optimum club... It looks like there’s a tree growing out of it right now. 

D: part of it is a store now. 

L: really

D: Yeah the right side of it a guy fixed up and sells vitamins out of it. 

L: Interesting. Oh wait I think its this building. Is the optimist club the one that’s one story or three stories?

D: Three stories

L: Okay I see it now. Umm..

D: Like up life or something. 

L: Okay hold on. I'm about to have to make a transition. I'm going to have to unplug my headphones real quick. (Rustling in the background)

(Mom and dad talking about bacon)

L: Can you guys hear me? 

D: Yeah

J: Yeah

L: Okay... Ummm... Sorry one more time. Where did we leave off?

D: The optimist club.

L: Ah yes. There’s also this very interesting building. Down the street from it. If its still like it is on Google earth it has a tree growing out of it looks like. Umm... So if you guys can go and take some notes for me around there that would be great. Especially down the street. The one that’s a single story, it looks like its just a couple of shop fronts and there’s like these crazy vines growing over it. 

J: can you show us what you're looking at?

L: Yeah sure. Hold on...

J: So we know what you’re talking about 

L: Okay that building

D: Okay I know what you’re talking about

L: Yeah

D: It’s literally right down the street from there. 

L: Yeah it’s literally

D: The next block

L: I'm trying to think of a good way to photography this scene. I don't want to get just a straight image of it. Do some details of them.

D: Of what?

J: These buildings 

L: Lets start at the optimist club. The optimum is it still boarded up like that? Umm... 

D: You can get that old guy from the antique shot

J: Yeah. Do you think your dad will be recognized in the book if he was in his bicycle gear? 

L: probably. And I don't think that would work either. Umm... 

J: Yeah he’s got that mustache. 

L: Lets see... (Scrolling and clicking) 

J: Really daisy? (Laughing) 

D: A pain isn't she? 

L: Yeah I can't... I really can't think of a way to make this building interesting...

J: what about from a letter? Shooting down. 

L: No definitely not. 

J: No?

L: You know what? Tomorrow mom, just go and collect some notes around and shoot a bunch. And Upload them. I'll do some more thinking... I mean if you guys can get a model that would be great. Just have an old person in a hat sitting on the bench outside smoking a pipe. I know it’s a bit cheesy but if you do it right it will look good. Umm... Well the important thing is that if you do it you need to make it look found, like he was already they’re smoking that pipe. That's something you guys can think about is finding someone who would be interested in doing that. Oh gather some notes... mom do you know where all to gather notes from? 

J: Yeah

L: Yeah mom you can spend all day doing that if you can. Well, maybe not all day but as much time as possible. Get some good notes and send them to me and maybe I can talk to you guys tomorrow. 

J: Okay

L: And I'll have some better ideas of what I want. Collect a lot of images of the unfinished parts of the house. Collect a lot of images of the workshops. And the space behind the workshop. You know? That grown over part. With the doghouse and all of that. Shoot in the barn even. I don't know... Just shoot everywhere. I need some way of coming up with the compositions. This is going to be the only way. And if you can start shooting at the parks tomorrow. 

J: Okay

L: But

J: That would be Saturday

L: Okay, but get as many notes done tomorrow as possible so I can take a look at them. And I'll send you some sketches.... Maybe I'll take some pictures of these sketches so you can have them and think about them. Oh... and... On an unrelated topic. On filling out the FAFSA I need to know how much you guys paid in income tax last year.

J: How much we paid?

L: Yeah, because last time I was asking, you gave me the total income of the family. So I guess I got confused and didn't ask the right questions or something I guess. 

J: Okay

L: Can you do that real quick?

J: Umm... Let me see. 

D: You got it handy?

J: Yeah hold on... 

L: So it’s probably pretty dark there right now?

D: No not really. 

L: Do you think you could get out and shoot the gas station tonight? 

D: I.... I haven't even eaten yet. I haven't done anything since I got home. I was planning on doing it tomorrow night. That would be easier. 

L: Okay. 

D: It aint dark but its getting there. By the time I... I would have to really really hurry. 

L: Yeah, all right. That’s fine. 

D: If I don't get a... I can do it Friday and Saturday night. If it doesn't come out Friday night then I can do it Saturday night. 

L: And... Oh but they really like the images you sent last week.

D: Now you said something about your shadow boxes not coming out last week. 

L: No, no, no, no they came out just fine. 

D: Oh

L: They were really like... If you can take some detail shots of those emblems, like get really close 

D: That's what I was trying to do with that cabinet. That's why I put that stuff on top of it. 

L: Yeah I'll have to look and see... Look again at those images because they didn’t come through in time because I do basically all my editing on Sunday. And they weren't there on Sunday. And this is another reason why I'm having you shoot jpegs because I can look at those on my phone.

J: for federal, it was $408. 

L: And what about state? I don't think I need to know that but do you know it right off hand? 

J: $82

L: Okay, sounds good. So I'll talk to you guys later I guess. 

J: Okay. 

L: Oh and... 

J: Yeah

L: what was I going to say? Ummm... I can't remember. Anyways I'll talk to you later. 

J: Okay. I'll try and get the pictures I've already taken and get them uploaded tonight. 

L: Good. 

J: And um... Then start about what we talked about tomorrow.

L: Okay, sounds good. 

J: Sounds good. Talk to you tomorrow. 

L: Okay. Bye.