Welcom to AIFC. I'm trying to be upbeat but I keep remembering that Brentford defeat in the last one. That won't happen again. That's your watershed. If that happens again, you're out. No, we're winning today. You are out. We're winning today Barry. Barry, I promise you. Get off me out. If I hear edges or long switches or things like that. No, we're going to win today, don't worry. We're playing Newcastle in the Carabao Cup third round. It'll be tough. If Brentford gains anything to go back, we're in trouble. Ned's Fewman, but I picked for them once and dropped for this game show. I'm leaving the team. Personally, Barry, I kind of want to change our tactics and stuff for this game, how we do things. Just a guy and a guy there. Onanna's knackered. So I'm going to put Deli Alley there. Just Deli, but yeah. And I'm going to put Andre Gomez there. Okay. All right, so are you leaving? So make sure Chimitty's on a bench. And then let me just put him like this central. Getting behind. Won't these all making runs? The big news, Ned, is that Newcastle have gone strong for this. We've gone very much a changed team. After the last game, I don't think exactly how a player deserves a play. Some of the players don't deserve to start. So I'm going to give young Dobbin a little go and say, you're getting an opportunity to get a big team. Take it and if you take it and you're good, you're going to get a chance in the Premier League's one. Is that what you're saying to him? Yeah, that's exactly what I'm saying to him. Okay, fair enough. Well done. Go on, Dobbin. Now's your opportunity. Take it. Go Beto. Well done, Dobbin. That was an opportunity to take it. He was on a bleeding break. Get in early. Early, early. Yes. There you go. Oh, yes. Dobbin. Oh. Lluwis Dobbin. In amongst. In and again. There he is again. Back inside. Oh. Dobbin. It's Deli. I'll go back. Oh no. Good start. Good start, Lluwis. Oh, why did you say oh no? Good start, Lluwis. It just got to the half way there. Oh no. Your start. Branthwaite. I can't believe you bet. Don't worry though. It's Rick. Michael Keane. Oh, I need someone. There's someone there. There's no one there. There's no one there. There is. I didn't see him. I mean he's there because that's his position. Go Beto. Go earlier. You've got to make that run earlier, Beto. Standing and watching. Well done. Well done. Dobbin's good. He's easy. No, he is. Oh, shamey. Not a good ball. His eyes are three goals in his last three games. Did you want to say you're too high? I don't want you sitting. I don't want you sitting. Oh, Virginia. Virginia. Good save. Good save. Tiau. Celebrating. Fair play. He's made one more save. They've picked it in the entire season already. Out to him. Well done, Deli, on again. No shot. No shot. No shot. Tighter. Newcastle ahead. Good save. That's way too easy, boys. It's Miguel Almaron. Too easy. Why are we standing, watching? Look at that. Why is nobody getting out to him there? And that as well. Oh, Branthwaith. Branthwaith's on the floor. He's trying to get a block in, isn't he? But he let it run. Stand up. Oh, no. It's Isaac. Keep it. Well done, Tiau. It's a penalty to Newcastle. How can the keeper get out the way there? Was that you sliding in again? I'm trying to block a shot. You're behind me now. No, no, no. It's the keeper's suckum. The keeper's suckum. There's arm. It's half a tinga. Went the right way. Couldn't keep it out. Oh, no. Oh, Barry. The last home game, the betunal down after 16 minutes and one. Dan Siemer's getting in now. Godfrey. Good ball. Oh, mucky. That was a back pass, wasn't it? That was a back pass. Nicholas Pope. You can't match that. Time, you've got time. At least it's a little back here. Branthwate, stop going to floor, lad. Stop going to floor. Just stand on your feet. Every time you go to floor, they score. What floor? Every time you fall over, they score. Give it back to me. Give it straight back to me. Angol, what happened to it? What happened to it? It's a down the line. Why have you given it to them? It's a down the line. Why did you knock it and say, give it back to me? I changed my mind. You give it to me. In no circumstance did I say, give it to me. You can't play it. It's in your gut shape. Go on, Delly. Go on, Delly. Go, Dobbin. Go, Dobbin. Go, Beto. One is your got to run. Yes, that's it. That's it. That's it. Dobbin's got to score. Delly's red. Terrible ball. Yes. Dan Siemer. No, he doesn't do that. Where's the aisle? There is you. I don't think he does that in the game. He should do, though. Back in it. Delly, alley's off. Quickly got a haircut from getting in the box. That was the... I don't like it. Why did he just... I just wanted to tap it to Delly. Sweat it in. I don't know because I passed it to you. Well, shade, yeah. Relax, relax. Left back's good. And again. And again. I'm going. Just hold it. Overlap. Overlap, overlap. Ben's gone. Well done. There you go. That was so heavy. That face touch was shocking. Tab all. Tab all. Ben. Am here. Am here. Am here. Well done. There's hands like Gomes. Come on, Gomes. Come on, sit, lad. Come on, lad. Yes, yes. Penalty! Hey! Hey! Penalty! What the f... Am that not a penalty? What the f... I'm fuming. It looks like it. I'm coming out in the press conference and saying this referee is a joke. You can say that, though, you won't. How's that not a penalty? Repery! No! I'm not... I'm a referee. Well done. Good shackle, Siarad. He's taking the absolute piss. It's Delhi. Where's the runnage? Where's the runnage? The end. All right, net. That was a penalty. It was a penalty. It was a penalty. It's literally JBL clothesline to hell.  And again. Nice. Hold it. Hold it. I'm going. Refery. Just blow the whistle first time. Simon Stone. Not bad. It's nice. Simon Stone. Oh, Steve Stone. Which one is it? Simon Whoop. Because the ball... I look at the shape ripping there. It's a story. You'd have to ref. Hold it and it fell flat. Win that. Back in. Back in. Back in. Back in. Back in. Well done.  If he didn't win the ball, the ball wouldn't have gone over there, would he? It's only on Antlie. Simon Whoop. It's only on Antlie. Come on. Absolute dipstick. Dipstick. Winding me up in. He is, really. You're getting ruffled there. It was a pure penalty. I'm right. Simon, how would web on the go? Baby. And dream is going. Touching it. Oh! Well done. Darn to you mate. Go short. Go short. I'm going around you. You've just said go short. Hold it and go around.  What was that? I don't know. I don't know what. I wanted to pass it.  Keep her. You castle the opportunity to wrap the game up. We should have had a penalty there. It's a mwze, it's a go get over it. I can't believe we got the night apparently there. Oh Ned, it was about 25 minutes ago in the game for Gennan. It's gone. Hold it. He's holding me. Deli's there. Deli's there. Deli's still there. Deli's ready, he's just passed the ball straight to his eyes. He's on the bike. Michael Keane, where you going lad? Oh, it's a shitter again. Sensor back. To debut. To debut for Mackenzie Hunt. That's fair. Go on. Go on Beto. It's it early. I'll give it you. Why are you eating? Why are you eating? He fouled me. Why have you been tombstones? He literally just flipped me. You've been sprit.   What are you doing? Get it. That was a foul as well. What about PSR? Have you got got it? That was a foul on the halfway line. Was that not a foul? What? It's a foul. It's a foul. Early. I'll give it you. Why are you running away?  I'll give it to you. That was not a pass mate. Oh my God. That was a bad touch. That was a bad touch. To make you three two. Oh no. It's happy golden. It's three on two. Look I'm going. I'm going. I'm going. Play it. Play it. Referee. Referee. What? Referee. Seriously. I'm literally borderline when I run on the pigeon. Shrap is borderline. I'm literally borderline when I run on the pigeon. Shrap is borderline. I'm literally borderline when I run on the pigeon. Shrap is borderline. That's the red street. A castle down there. A foul? What the freak? You're joking. What's going on? Oh my God. What happened? That was a foul. That was a foul. Ben. That was a red card. He was from goal. Play it. Play it. Beto's going. Play him. I played him. Where's he going now? Go on. Now, power on. Power on. Go. You're on your own. Shoot. Mae'n blaid i chi dipynyddio am y ddod yn awr iawn. Mae'n ddod i chi yn ddod! Am wneud hyn o hynny sydd yn awr iawn! Rhywbeth eich bod! Rhywbeth eich bod! Go, gelwch! Rydw i ddim yn ei dod wrth fynd. Ie! Mae'n tai! Mae- Mae'n enwedig! Mae hefyd yn y f analog. Yes! Aw! Do you mean yes? Square it? Damn, she was few. Do you mean yes? Again, again. It's in. It's worse than Simon Hooper. 100% your fault. It was a right fault. Was. And one was a corner. A corner! When we put an equaliser in it. Yes! Don't miss! Don't miss! Yeah! Oh, me! Yes! I'm out of the seat. Get in! Aw, Barry! Aw, Barry! Aw, Barry! Aw, Barry! I don't want to lose to these, Barry. Yes! Well done! Well done! Go on! Go! Go battle! No! Win it! Jeez! What's that? Out! Well done! Out to it! Well done, Kenzie. Go on! Yes, you're away! You're away! Play me! He's not on his own, is he? Play me! He's not on his own, is he? Square it!  Come on! Square it! He's not on me! Get in! Get in! Aw, it was a twist! I can't okay! Where's me, Mike? I don't know! Aw, what a day! Who needs a penalty? A Simon Hooper. You're free. Don't go flying in like that. Just sit. Don't go flying in. Just sit. I'm nowhere near him! Get in! Let it go, let it go! Let it go, let it go! Can I let it go? Right, standing. Out! Out! Please! Why haven't you stopped the cross? Why didn't you stop the cross? That's right! You didn't! You dived in! Now that was you! And then you dived in again! What's going on? Oh my God! Oh! Michael Keane. Where to go? I'm gone. I'm gone. We're going to need to change this here. What? Get Michael Keane on. Get Keane on. Just sit.  Sure up. You don't have to go free and can see the two goals. Ned's gone. I'm going to have to make sure. If I just put my Keane off all pens, in fact, no. But he has put Yousurf Chymity on at centre back. Yes. Yes, a fruit. A fruit! It's Dan Chymity! It's Dan Chymity! I'm squiria! It's Dan Chymity! Yes!  It's Dan Chymity! Come on! Come on, Yousurf Chymity. Oh my God! Don't let me down. Dan Chymity! Newcastle are crashing out in the most unlikely manner. Where's my microphone gone? I don't know. Felly fransial di weddol'u muni. It doesn't matter. Oh my God! You've got to hang it over us. Keepers! Keepers! What are you doing with Virginia? No! What are you doing? What's he doing? Just sitting. No! No! No! No! No! What are you doing? What are you doing? What are you doing? He put it back in after all. What were you doing? I didn't mean to. You were doing stuff! You were making a buck! Look where Virginia is! Why is he? He can't even see! He's behind Coffrey! He clashes Coffrey! He takes Coffrey out! Oh no. It is. It's for you. It's for you Barry. It's you Barry. It's you Barry! Don't! Yes! It's Barry. Oh no! It is. It's for you Barry. It's you Barry. It's you Barry. Do you Barry? Oh, I scared me. On that. OK. That's the only thing you can do. Dan's humour's been brilliant, doesn't he say it's a lose?  Beautiful. Virginia! Get in. What a shave! Come on, green, green circle it. Oh, it's Timothy. Just smash it. OK. Oh, you should have brought him on. I knew he should have brought him on. It's Delhi and Go. Looks like Delhi. Virginia. Come on. Much go. Oh, Ned, you just scored this with Dobbin. It's party time. Oh, unsavable. Bottom left. Gwymir es, not shave. Please. Decoring! Penalty shoot. Yes! I mean, it was just bad. Ben has bent against Fulham. He's nearly took us out. Barry, what a game. What an emotional rollercoaster that was. That's like a cup final. Look at the fans. The fans are going crazy. The fans, I think cos it's Newcastle as well. Oh, put them through it there, haven't we? We have looked at that. I mean, it's not a great penalty from Decore. He just waited for Pope to move. But it went in. That's what matters. I'm legitimately sweating, Barry.  That's why. I still want to slag off Simon Hooper though. Simon Hooper put us through it there. I genuinely feel legitimately tired. After that game. OK. I bet I'll play. You just relax.  Where was your tactical changes? 4-3-3. That's when we were 3-1 down. No. Before the game, going into the game, we got beat 6-0, not having this. I changed the game, changed the team, changed the formation and we won 5-5. I mean, it was a 4-4 draw. I think once I made the such, 5-5 draw, we don't know right. We won the game. We won the game, that's all that matters. There you go, another crazy episode. That was much more crazy than other ones, but we're in the next round. League form's not great, but we're looking to build on that, but we are through. Newcastle, win on penalties. Let us know what you think in the comments section below. Like and subscribe till next time. I'm just going to put this out there. We're going to win the League Cup.


Well, I guess some others are going out. And he's enjoying his new life in such a much quieter environment. You know what I mean? Actually, from a life point of view. I'm sorry. I'm building an alleyway. Mr. President. Yeah, that's right. I'm very pleased that you could all be here today. I know how busy you've been with events, leading up to Tuesday's election, and I want to congratulate all of you in the House of Representatives who've just been re-elected. This bill, the Immigration Reform and Control Act of 1986 that I'll sign in a few minutes, is the most comprehensive reform of our immigration laws since 1952. It's the product of one of the longest and most difficult legislative undertakings in the last three Congresses. Further, it's an excellent example of a truly successful bipartisan effort. The administration of the allies of immigration reform on both sides of the capital and both sides of the aisle worked together to accomplish these critically important reforms to control illegal immigration. In 1981, this administration asked the Congress to pass a comprehensive legislative package, including employer sanctions, other measures to increase enforcement of the immigration laws, and legalization. The Act provides these three essential components. Distance has not discouraged illegal immigration to the United States from all around the globe. The problem of illegal immigration should not therefore be seen as a problem between the United States and its neighbors. Our objective is only to establish a reasonable, fair, orderly, and secure system of immigration into this country and not to discriminate in any way against particular nations or people. I would like to recognize a few of the public servants whose unflagging efforts have made this legislation a reality. Senator Allen Simpson, Congressman Dan Lundgren, Chairman Peter Rodino, Congressman Ron Mazzulli have long pursued and now have attained this landmark legislation. Important roles were played by Senator Strom Thurman, Senator Paul Simon, Congressman Ham Fish, Bill McCollum, Chuck Schumer, and many others in both houses of the Congress and in both parties. Additionally, I would like to note the excellent efforts of members of my administration who have worked so hard over the last six years to make this bill signing possible today. The long list of those in the executive branches headed by Attorneys General Edwin Meese and William French Smith, who with Immigration Commissioner Alan C. Nelson have contributed greatly to our efforts to pass meaningful immigration reform. Future generations of Americans will be thankful for our efforts to humanely regain control of our borders and thereby preserve the value of one of the most sacred possessions of our people, American citizenship. So now, I'll get on with the signing and make this into law. Hope nothing happens to me between here and the table. The names and the right order there. No comment, but could I suggest an appeal to all of you with regard to this, the speculation, the comment at all on a story that came out of the Middle East and that once has no foundation, that all of that is making it more difficult for us in our efforts to get the other options free.


Today's episode is sponsored by Squarespace. I don't know why I'm still doing this. Maybe I just can't grow up. So you remember Mojave Mania part one and how that was like a halfway decent video? Well, maybe it's time to lower your expectations because here's part two. Anyway, we find our bold heroes in the thralls of the usual meat withdrawal and just like last time they stopped at Jude's barbecue for a barbecue meat sweat blessing going forward into the desert roads ahead except that our new favorite barbecue place wasn't open on that Monday. So our two photo losers were totally f***ed and the whole trip was doomed. I mean, yeah, we found another spot that tried their best but honestly, it just wasn't the same. I think this place was called Applebee's. Thinking of just calling it early and heading home instead we headed off into the desert to finish off our list of locations that we couldn't get to the first time around because my forerunner basically took a sh** in my open mouth and you know what? It was brewing up another one for me that day. We arrived at our first location, standard nondescript desert next to an abandoned house. Midday lighting is probably the worst thing that's ever happened to humanity and we'd have to deal with it right there and then. Luckily, I had a few tricks up my sleeve that might make the photography there a little more exciting. With me on this trip, I brought the same setup as last time, the four by five in the Hasse. The Dynamic Duo, a partnership, a brotherly bond between two slow and heavy cameras. The four by five that I have is kind of cursed if you ask me, but you didn't. I don't think I've taken a single portfolio worthy shot on it yet and it didn't seem like I would anytime soon. When you can't produce good work on a camera system, it makes you hesitant to keep using it, which is a bad thing, but I was determined nonetheless. I'm gonna start with the four by five and then maybe flip over to the Hasse. Inside the building was interesting enough for me to set up the four by five and knock out the first of the batch, which historically is usually never the one. You gotta allow yourself time to warm up a little bit I think. Anyway, since the place was clearly haunted by ghosts, I was working faster than ever. Oh sweet, put the camera on backwards. Love that. What am I trying to do with this shot? I really love having shoes that don't make me afraid to walk around the whole thing like this. Yeah, I know, right? It's nice not living in fear. I'm living in fear. That wasn't that funny. Forgive me. Before leaving, I loaded up my Grafmatic back with something called Rolly Infred 400, a stock that I had some sheets left over from some unsuccessful tests I was doing. Rolly Infred 400 has extended sensitivity into the infrared spectrum, so it can literally see what we cannot, which is kind of cool, but I'm kind of disappointed that it didn't catch any ghosts chilling in the kitchen area that I'd be photographing using this special wavelength.  It would definitely be a Polter Prize winner if I saw like the faint, transparent outline of maybe Patrick Swayze and Demi Moore making pottery or stealing the Declaration of Independence, whatever else they do in that movie. I never saw it. Light meter is this really cool function where you can average out readings. So let's do that. So it's saying one second for inside, one 15th of a second outside. This guy is one 30th. God, this door is creeping me out. 15 seconds. The average is saying to do half of a second at F16. To block out all the visible light and only capture infrared light on Rolly Infred, you can use an R72 filter that is basically just a dense black filter that the human eye cannot see through. With the filter applied, a lot of people just rate the film at ISO 6 instead of box speed 400 to account for the filter. I'd be using ISO 12 for all of these. More on all this in a different video unless I totally forget to do it and move on without a care in the world. Come on. So here's the fruits of my looms or labors or whatever the phrase is. It's okay. For starters, I hate it. There was no real reason to shoot only infrared for this one. I should have just popped the filter off and let the film ride at 400. There was quite a large difference in exterior and interior brightness, as you can probably tell. Outside is almost blown out and inside we are losing some shadow detail under the kitchen counter. In situations like this going forward, I think it'd be best to decide one way or another what you want to expose for exterior or interior instead of trying to magically get both.  Anyway, because you don't realize the errors of your ways until later when you get the film developed, I decided to basically make the same mistake again with this composition, using this big ass window to frame the mountains. I also did not take the R72 filter off because I was being lazy and self-sabotaging myself, which honestly, these days is the only way that I know I'm actually human and not some sentient AI born to take bad photos and show them off on the internet in a way to feel the sensation of shame. Guess I'm not really waiting for anything. So F11, one, one, 25th. Cool. Okay, well, at least I kind of have committed to exposing somewhat okay for the exterior. I don't have much to say about the shot, except that I also hate it. Maybe I wish it was slightly wider and that there was some detail on the interior to show that this was in fact a living room with a hole in the roof where somebody probably fell through. After that, it was finally time to shoot what Rolly and Fred film shoots best, a landscape. There were several abandoned structures in the area, so I had my pick of the letter. For shots like these, I kind of just let the lighting do the talking, mostly because I'm an introvert at heart and love it when somebody else takes the lead. But it's a nice tip for those situations where you can't quite pinpoint where you should set up. Because the sun was at an angle, lighting up half this facade, I positioned the camera at a nice quarter angle to force the lighting on the building to make it look three-dimensional. Edward Hopper did it a lot in his painting, so I just ripped that technique from him because I guess I'm incapable of being original. Anyway, like a high school theater class, this shot is extremely dramatic, and you probably wouldn't have guessed it took place in the middle of sh** high noon lighting. The sky kind of looks like outer space because of the R72 blocking filter. Overall, it's surreal, uncomfortable, and unsettling, just like my best man speech will be at Caleb's wedding. The wall here became a nice silhouette against the direct light and I guess bounce light inside the ruins. And as a nice little bonus, this dark corner really stands out nicely against the brighter neutral gray in the background. Metering can be kind of tricky for these midday harsh lighting scenarios, so I think what I did here was spot meter for the shadows right around here and then take a reading from the highlights about here and split the difference. Then I think I closed down one stop on top of that because neither ground would be quite hot and yeah, I wanted to retain some detail. Anyway, in the end, this shot looks like fine art or fart if you abbreviate to save time, and it didn't take much work, so there's your little photography hack for the day. Shoot infrared sometimes. The next setup was kind of a f**k it why not shot of some power lines next to a cursed baby head effigy. What is that? Average this one out. Sky, one eighth. Ground, one eighth. Pole, one eighth. Deep mountains, one eighth. That wasn't very exciting. I think it turned out kind of cool actually though through many small miracles that cannot possibly be attributed to myself. I set this one up with subject layering more in mind than lighting. The subject's being these power lines that stretch off until infinity and conveniently land in a mathematically pleasant area. Also a little bit of front rise to straighten out those vertical power poles, but I didn't get it perfect.  The base of the pole is dark and contrasts beautifully against the bright ground behind it. But it grades up nicely to a brighter tone against the dark sky. I don't know how this happened or how I got so lucky, but s**t dude. I'll take it. The next location was right next to the highway, so of course it was a wash in graffiti. Something I try to avoid photographing because it is quite distracting and yeah, I don't need the words f**k dumpster displayed prominently in my work. Now I should say, midday lighting it kind of bland. I've been shooting nothing but a rolly infrared. It's been cool, but it's kind of hard to visualize shots with that because the look is so different. The buildings themselves aren't the most inspiring. Maybe I'm just being too picky. What would Edward Hopper do in this situation?  I mean he wasn't a photographer, but you know what I mean. Anyway, after struggling hard to find anything to shoot I pitched my tripod down and reluctantly used the built-in frame guide on the camera instead of doing the obvious and easy thing removing the R72. So I did basically the same technique as before again here. I let the lighting do the heavy lifting. I put the camera at a quarter angle and from there I just adjusted very slightly so that our two power lines here kind of frame the building nicely. The resulting image was wonderful actually. The sky was the true star of the show to be honest. That's the real power of infrared film in the middle of the day because that same sky in real life was just a bright unsexy grade of blah. I could barely even make out that there were clouds there to begin with. I'm gonna get detail on both the interior and exterior so I elected to lean towards retaining more info and the highlights and just letting the shadows fall where they do. Maybe as a bonus it could hide some of the graffiti on the building. For the final shot instead of taking a good photo that I could be proud of I chose to shoot a detailed close-up of the corner of this building. I think I'm gonna try shooting this one wide open. Oh my god there's a lot of sh** in this lens. There's so much dirt. I think for this I'm gonna meter for the shadows inside the building and then go two stops faster. So yeah something clearly happened here. What that is that happened I do not know. My best guess is that the sheet wasn't loaded properly and was bent a little in one of the corners so it gave the final photo this wavy distortion in a weird spot of defocus. I do like the thin focus lines separating the layers of the building but otherwise this photo is what it is in a world where it do be like that sometimes. I think I was just glad to be done with the 4x5 for now and move on to my one true love the Hasse. My son, my moon and my stars the 4x5 can f**k right off. Of the six shots on the Grafmatic for Rolly Infred they were all keepers but only like three of them were good. I don't know if their portfolio worthy or really break the 4x5 curse placed on me just yet. Down the road and off the road a bit was this old abandoned farmhouse with a very creepy underground cellar that I stayed far as f**k away from. Ain't no way in s**t that I'm going down there I'll tell you that much. I loaded up some Cat Labs 320 which is kind of a budget black and white film stock that I've never tried before. Alright so I'm going to shoot this Cat Labs it's a 320 ISO film but I'm going to shoot it at 200 because I've heard that it is pretty contrasty and I just want to make sure I have enough information. Inside the farmhouse was pretty cool there were a lot of interesting light textures to use and the color was surprisingly nice. I love the color in here.  So nice that I actually went back to load up a second A16 back with Cinnestill 400D. Alright here's Hassey back number 2 I said recently in a video maybe I cut it I can't remember. I think there is a good way to shoot 400D it all comes down to how you interpret it in lightroom or negative led pro or Microsoft Paint. I'll see if I can get it right or maybe I'm just I don't know. Still haven't gotten this stuff for 4x5 yet so not super sure what that's about. I'm supposed to get it last year I think. Why Cinnestill 400D when I know that Kodak Gold would give me the results I was looking for. I don't know man. I think I was dehydrated and scared. You shot Cat Labs 320 before right? Yeah. Did you shoot it at 320? That's what I have it at yeah. Anyway here's probably the best shot. The light cutting across the frame of the window is great and the broken window jutting out is a nice detail. The highlights aren't completely blown out but they might as well be. Here's basically the same shot on 400D which has much more shadow detail. That sounds so good. Yeah, yours sounds better. All right sideways shot. Which is like a 32. I like this shot too but I think it would have been better with a wider lens maybe. I think all these would have been better with a wider lens to give more context. Time to invest in that 40mm for the system. Instead of a wedding ring, Monica can wait another 10 years. Anyway as as best as particles were probably filling our lungs I took this on both Cat Labs and 400D. I really like the layering and glint of light in the background. This is a rare case where color adds an extra dimension to separate the layers effectively. This is a good shot I think. I don't usually go for the linear kind of straight on stuff but the colors are working over time to pull this one off and I'm here for it. We have returned. After the incest monster seller farmhouse we decided to revisit an old friend. The house buried among the sand. The first time I shot this location it was a sunset and I was shooting with my 4x5 which honestly isn't really the most portable setup. This time around I'd be using the Hasse which seemed par for the course. Like a proctologist using the right tool for their job I'd hate to use the bigger tool here. The location itself was much less exciting this time around. The setting wasn't quite there yet and we had already shot it and kind of found the best angles the first time around. There's a chair there now. A little gremlin buddy from last time somehow moved in there from here. I ended up retaking this shot and I can't honestly say it's better than the 4x5 one that I did before.  Which lesson learned. You gotta go wide inside. I know it looks like a total dream location for photography but I just wasn't able to find the moment. Something just wasn't vibing maybe because the fear of puking up barbecue sauce all over myself wasn't there due to the non-barbecue situation from earlier. I don't know. Anyway to make matters worse the 4runner was starting to have issues again and what better time to find out about them than in the middle of the desert alone.  Whatever though the real cherry on top of this grilled sandwich was that our next location the one that we were saving our purity for sunset for would be kind of a disappointment. It was supposed to be a dune field of even more houses buried amongst the sand that we couldn't reach the first time because we did not have four wheel drive but as it turned out the buildings were significantly more buried than we thought and there wasn't really much to see or shoot. We went in anyway hoping for the best and you know we found a few compositions here and there. Okay go down. There was one diamond in the rough. A car left abandoned and buried in the sand in the middle of nowhere. Since sand is basically kitty litter and I had cat labs in my hassy I made the obvious connection and shot away. I took a set of three and I think they're all good for different reasons. I want to pick one for the portfolio but I don't know yet which one. My brain is telling me this one for the detail. My heart is telling me this one for the wavy sand texture and my plums are telling me this one for the layers. Either way if you know what kind of vehicle this is and whether the toilet came standard with the car or if that was a premium add-on feature I'd be curious to know. After stealing the catalytic converter we wandered around for a bit in the dunes and eventually called it quits. Half tempted to leave my falling apart four on our out there you know after I siphoned all the gas and got a little buzzed we headed to the nearest highway feeling kind of defeated just don't work out. And you know we thought that was that but it was not that. That day had just been kind of a drag overall. Most of the time you kind of just know in the moment when you slam out some bangers but never really felt that all day. Until after sundown we cruised on down old route 66 and stumbled across some really cool buildings which were either abandoned or not abandoned as most things are if you really think about it. I started by polishing off whatever was left of the 400D and in doing so I was starting to feel something again. I mean these shots are basic and not too pretty but eventually I pulled out the 4x5 and my extra special holder that contained two sheets of preloaded ectochrome e100. For the first time all day I had some semblance of a plan.  While Caleb was going on about digital ICAs and how he's totally abandoning film my analog ass was setting up an experimental shot that probably wouldn't work but it did. One Mississippi, two Mississippi, three Mississippi. Though what exactly happened here and why does it look like it was taken directly after a nuclear apocalyptic inferno. Well I don't know man sometimes that's just kind of the vibe.  If you've ever been to Santa Cruz on 420 you probably recognize it. I slapped that bad boy on the 4x5 and went absolutely plum-wild with some ectochrome that I correctly incorrectly loaded so that it would be red-scaled and well, yeah, it's a unique effect to say the least. An effect that somehow fits well into my own portfolio. 11, 2 seconds. Rush probably kicks in after 10 seconds. One Mississippi, two Mississippi, three Mississippi. Oh. Got a little stuck so we ended up doing probably 4 seconds. For the nerds out there that want the data I shot these at 40 ISO instead of 100 ISO because we have to let more light in to blast through the rear anti-halation layer. I also still had some Catlabs 320 but none of them even remotely turned out even at 200 ISO. The shadows just fall off super hard on that film stock and it becomes pretty unforgiving and low light. But with that roll of 16 shots I got 12 keepers and one portfolio shot that I'm still kind of undecided on. The 400D was a different story of the 16 shots I got about 14 keepers and I'd say no portfolio shots. But speaking of portfolios I'd like to thank today's sponsor which posts my own photography portfolio online, Squarespace. Squarespace is an all-in-one website building platform that provides everything you need to build a website of your dreams for whatever you're cooking up in your noggin. With hundreds of professionally pre-designed templates for you to pick from it's easy to find the one that suits your needs best. Whether it's for a photography portfolio like me, your small business, or even just a grainy days fan fiction website, Squarespace has you covered. If you don't know the first thing about designing a website then worry not. Neither did I when I got started. With Squarespace's intuitive user interface and drag and drop modules, building your own custom space is easier than ever. And if you hit a snag, Squarespace even offers 24-7 award-winning customer support. So what are you waiting for? If you're ready to build a website you can start a free trial today at squarespace.com slash grainy days. And if you use the code grainy days at checkout you can get 10% off your first purchase. Anyway, that was kind of a wrap on the day. A day that had admittedly been kind of a let down. From bad film stock choices to subpar locations, I think it was just a day that was doomed to fail from the get go. And I can't help but think it was all because our new favorite barbecue spot was closed that day. Thanks universe. I took a few shots worth being proud of, with this inflamed ectochrome being the standout performer. It is entirely possible now that the 4x5 curse has been lifted after I took a beauty with the old beast. I really like the Roly and Fred shots too. I think there's a lot of potential there with that stock, especially because it likes a little abuse and prefers to be shot, no cooked in the middle of the day. That's the end of the Mojave series for now. On to bigger and better things elsewhere with new forerunner trauma acquired. See you next time.