Ladies and gentlemen, the Railroad Hour. And here comes our star-studded show train. Tonight, the Association of American Railroads presents the great Jerome Kern musical success, Sally, starring Gordon MacRae and his charming guest star, Lucille Norman. A choir is under the direction of Norman Luboff, and the music is prepared and conducted by Carmen Dragon. Yes, tonight another memorable musical hit is brought to you by the American Railroads.  And now, here is our star, Gordon MacRae. Thank you, Marvin Miller, and good evening, ladies and gentlemen. Well, sir, tonight we're looking for a silver lining, and we all expect to find it in Jerome Kern's great music for Sally. The Sally of our alley is charming Lucille Norman. No be surprised if I fall in love with her in the next 30 minutes. I am Blair Parkour, a poor unfortunate guy with only a couple of million bucks in the bank. But as the curtain rises, we meet the Grand Duke Constantine in the little country of Czechogovania. On the banks of the ships of Comiskey, there are just as well as can be. Any time, whether reason or rhyme, you may find it far wiser to be. Constantine, Grand Duke of Czechogovania. That is me? Revolution. We have found out about you and Madame Nukerova. No. What did you find out? That you bought her a diamond necklace with the taxpayer's money. Oh, is that all? For a minute I thought it was going to be a scandal. You are deposed. You are now a fugitive. An exile. A bomb. Of course, I didn't know anything about Balkan revolutions in those days. And when I dropped into the alley restaurant in New York for a bite of lunch, I didn't have any idea that the man who was waiting on me had once been the Grand Duke of Czechogovania. Waiter? Oh, waiter. Yes, sir? Would you please clear off these dishes and bring me some food? Clear off the dishes? All right. Oh, what are you doing? If I don't smash them, I'll have to wash them. And I hate that. You know they hired a dishwasher, but she didn't come here yet. Oh, I see. Well, bring me your number three special. Number three, yes. Right away. What a restaurant. Hello. Well, hello. Are you the proprietor? Oh, no. No, I'm just a poor-enforced customer. But, uh, won't you sit down and have lunch with me? Oh, no. I can't. Why not? Don't you eat? Oh, sure. But I'm just the dishwasher. Isn't that awful? Oh. Well, don't worry. Things are bound to look up. You know, there's a right side to everything. Even the dish pans? Why, sure. Please don't be offended if I preach to you a while. Tears are out of place in eyes that were meant to smile. There's always a way to make your very biggest trouble as sharp. I hope you're right. Tell me, what's your name? Sally. My name's Blair Parkwa. Isn't that a mouthful? I like it. And I'm going to remember what you told me. My dishes, I'll be following your plan. Till I see the brightness, I'm sure your point of view will ease the daily. I'll have to go wash my dishes now. Goodbye. Good luck, Sally. Here's your lunch, sir. Oh, thank you. Thank you, waiter. Excuse me, if you please. Are you Mr. Parkwa, the well-to-do millionaire? No, no. He's my father. Oh. I say, I understand he's giving a party tonight in honor of the Grand Duke of Czechocovina. Are you going to be there? No, not if I can help it.  Yes, but would you wish your dessert now? Oh, thanks. I don't care for any dessert. You are lucky. You know, in all that high society at the party tonight, there wouldn't be one girl as pretty as your new dishwasher. Oh, I didn't notice. Is she beautiful? Beautiful. Why, she's Juliet. Cinderella, all mixed in one. Imagine, right here in the alley restaurant, too. Say, you sound like you're falling in love with her. Well, maybe I am. She's somehow different from the rest. I can't describe her quite. She seems to me just right. She worn my heart at sight. It matters not how she is dressed. I want to hold her tight. She is the dark. I met her dressed at you where the sun never came. The dress that you wear is a poor affair. You made me care. I can see the headlines. Millionaire falls in love with dishwasher. You think maybe I've got some soap in my eye, huh? So you are the new dishwasher, huh? Yeah. Let me look at you. Well? You are not pretty. You're beautiful. Oh, thank you. You're cute, too. What's your name? Konstantin Alexandrovich Fedor Gregorovich. What is yours? Sally. You got sure changed? Sally, do you manage to help you with the dishes?  Yes, but I want to make myself suffer. You've got yourself a job, mister. Konstantin, the towel. We are deeply honored. With you helping, I'll be through twice as fast. Even faster if I break a few. Gee, I wonder if I'll ever see him again. Oh, Sally. Blair Farquhar. Oh, I'm going to a party at his mansion tonight. Really? Yes. Honey, listen, I let you in on a little secret. You see, I am actually the Grand Duke of Czechovina. You are? Gee, I wish I could go to that party, and I'd get to see Blair again. I got it. What have you got? Sally, I am going to take you to that party as Madame Nukrova. Madam who? A famous singer. You know, the Czechov... Czechovinian nightingale. What if she finds out? She's back in Czechovinia. She'll never know. Gee, I'll put my hair up on top of my head and wear false eyelashes. All you have to do is be as beautiful as you are. Of course, I'm taking an awful chance, but if they find out that you're a dishwasher... What if they find out you're a waiter? Yeah, you say you got a point, you know what I mean? All right, it's a deal. We go to the party together. The Duke and the Duchess of Dishpan. Oh, Connie, you're an angel. Oh, all right. Oh, just wait and see. I'll get out of those soaps I'd yet. You have Sally in just a moment. That familiar old song symbolizes the work of about one and a quarter million men and women employed by the nation's railroads. But that's not all. That's right. Although I don't work directly on the railroads, I'm one of more than a million people who help produce the fuel, materials and supplies that keep the railroads running. And don't forget me. I'm one of the millions of people who directly or indirectly have invested part of my savings in the railroads. Well, I feel almost as though I've been working on the railroad too, for I'm one of more than a million people whose hobby is railroading. Yes, at heart, just about everybody is a railroad man. And the railroads basically are everybody's business. They're your business, for example, yours and mine. Because without railroad freight trains, you and I could not live as we do. For only the railroads with their tremendous capacity and high efficiency can provide the high-volume low-cost transportation needed for the mass production and distribution of most everything we eat, wear and use. The railroads, in fact, move more tons of freight more miles than all the other forms of transportation combined. What's more, they do this job over their own steel highways, which don't cost you the taxpayer a single penny. Yes, the railroads are everybody's business. That's why it's important to you that they are continuing to spend right up to the limit of available money and materials in order to keep on improving their service, a service which is essential to your welfare and to the commerce and defense of our country. Here is act two of the Lawrence and Lee version of Jerome Kern's Sally starring Gordon Macrae as Claire Farquhar and Lucille Norman as Sally with Denny Rubin as the Grand Duke. Let's take our... That night we had a party at our Fifth Avenue mansion in honor of the Grand Duke of Czechia Govindia. And when the famous singer, Madame Nukerova, walked in, she could have knocked me over with a bonkin duke because she was a dead ringer for my little dishwasher, Sally. Oh, Monsieur Farquhar, bonsoir, bonsoir, bonsoir. Bonsoir, Madame Nukerova. One thing astonishes me, both you and the Duke, you look very familiar to me. Perhaps we met in Europe, yes? When I was overthrowing our kingdom. Is it true, Madame, that you are the woman who caused eleven Balkan revolutions? Twelve? But who's counting? It's amazing. Amazing, such a beautiful girl and yet such a firebrand. You'll part in our intrusion, our confusion is so blind we've never seen a girl at all like you. I must admit, I'm rather unconventional a type that must appear as often new. Your life is blended flower, not from our domestic crime an orchid that can thrill us with delight.  We know your name. You do? Well, all the same. I'm excited. Well, who can tell? Madame Nukerova, would you come and walk with me in the garden? There's something I want to tell you. Mr. Farquhar, I shall be delighted to see your garden. It's astonishing how much you look like a friend of mine. A dishwasher. Ah, this little dishwasher. She is nice. Well, I think you're prettier. It is the moonlight. Listen, that lovely bird. It's a whipper-will. There's a nest in the willows.  When I was a little girl, I used to listen to the whipper-will and dream of living in a garden like this. Whipper used to love to hear you call the branches of the tree. Say, what's going on inside? I will not endure this humiliation. His highness. Here's a tip, your highness. Oh, Sally, they found out about me. He's no grand duke. He's nothing but a waiter in an alley restaurant. I have to do something to keep my highness from getting hungry. You should be ashamed of yourself. Yes, Madame Nukerova. I'm not Madame Nukerova. I'm just a dishwasher. Sally. As long as you thought we were fancy pants foreigners, you were nice to us. But you laugh as soon as you find out we have to work. But Sally, we didn't mean that. You think we're phonies. Well, I think you're a lot bigger phonies than we are. Come on, Connie. Let's go back to the soap son. Well, when Sally and the duke marched out of our party that night, I figured I'd never see her again. But I figured wrong. For beauty and talent like Sally's couldn't hide forever behind the stack of dirty dishes.  And behind those footlights, Sally really found her silver lining. Oh, congratulations, Sally. It was a great show. Was I all right, Your Highness? All right.  You've got them right in the bottom of your dishpan. I should be happy, but he didn't come. Blair? Yes. But after the party, you said you never wanted to look on him again. Oh, Your Highness, when a girl says that, she wants to see him twice as much. Okay, Sally. You wait here in your dressing room. I'll find that guy if I have to scour New York, if I have to scour the United States, if I have to scour the world. I... Hello, Sally. Quick scouring job. Blair? Congratulations. I think everybody in the theater loved you almost as much as I do. You're sure you wouldn't love me more if I were a notorious woman who starts a revolution every Wednesday? Oh, Sally, it's you I love. Will you marry me? No. Why not? Well, that's what every girl's supposed to say the first time she's asked. What do they say the second time? Why don't you try it and see? All right. Will you marry me, Sally? Maybe. What happens the third time? Well, don't stop now. Try it and find out. Oh, Sally, will you marry me? Of course I will. Oh, wonderful. I promise you one thing. What's that, Blair? Well, after we're married, I'll always help you do the dishes. The silver lining. Lovely Lucille Roman will be back in just a moment. And our good thanks to Benny Rubin and our entire company. Sally with music by Jerome Kern and booking lyrics by Guy Bolton and Clifford Gray was dramatized for the railroad hour by Lawrence and Lee. The railroad hour is brought to you each week at the same time by the American railroads. Marvin? You know one of the quickest and best ways to tell how the nation's business is doing is to look over the latest report on freight car loadings. That's because the railroads carry the vast bulk of America's freight and accurately reflect the production of our farms and factories. Indeed, our mighty production system could not function without the railroads to provide the tremendous quantity of transportation needed for commerce and defense. That's why the railroads are truly everybody's business, yours and mine, because we could not possibly live as we do without their essential services. Thank you, Marvin. And now here again is the lovely Sally of our alley, Lucille Norman. Thank you, Gordon. I loved every minute of it, including every dish I had to wash. Say, Lucille, can you imagine what an electric dishwasher would do to this story? Well, what's on the show train next week, Gordon?  Recognize it? One of my favorites, Gordon, Gypsy Sweethouse. That's right, Lucille, from Victor Herbert's enchanting fortune teller. And I'm turning my palm over to Dorothy Warren's show. She tells me there's a fortune in it. All the listening next Monday night. Good night, Gordon. Good night, Lucille. As usual, you were wonderful. All aboard! Well, dear friends, it looks as though ready to pull out. And so, until next Monday night, in Victor Herbert's fortune teller, this is your friend Gordon Macrae saying, good night. Sally was presented by special arrangement with the Tams Whitmark Music Library. Gordon Macrae may soon be seen co-starling in by the light of the silvery moon. Our choir was under the direction of Norman Luboff, and our music was prepared and conducted by Carmen Dragon. Until next week, this is Marvin Miller saying good night for the American Railroads. Now stay tuned for your Monday night of music on NBC. Tonight, The Voice of Firestone features Jerome Hines on NBC.


The difference between a mediocre photograph and a great photograph, one that leaps off the page and grabs the viewer's attention is mood. And if you have struggled to put mood into your photographs, then this is the video for you. How's that, how's that? Putting emotion, putting mood into your photographs is so tricky if you don't know what is actually affecting the way the person who is viewing your image feels about it. So today I'm going to share with you three approaches that you can take to get hold of the mood that you wish to convey within your images. The first of these is almost so obviously simple. It is color, you know, we all kind of know at a basic level that color makes us feel certain ways.  Pete Turner is a very famous photographer who made a career out of using color as a way of conveying feeling in his images. Look at these photographs and see how they make you feel. Some of them are fairly obvious and some of them are less obvious. But at the heart of all of this is how he recognized the impact that color has on the viewer of the photograph. You don't need to have a background in color theory to use color effectively. All you need to do is to tap into your own senses. How do these colors make you feel? If they make you feel a certain way, a certain mood, then it is a guarantee that a majority of people who are seeing your photographs are going to feel a similar way. If you're struggling with putting color together, then think about the predominant colors that are around you when you're photographing. You can use the squint method for this. If you're not sure what the squint method is, I will link to it at the end of this video. Once you see what the predominant colors are, then you can think, well, this is the kind of mood that they would suggest. And then you can take it from there. You can start to build up the photograph with what you have to hand. There is an age old debate, color versus black and white. Now, a lot of people with black and whites and well, black and white is the absence of any color influencing the way that people feel about what's actually going on in the image. And to a degree, I agree with that. Look at these photographs by Sebastião Salgado. They are epic in scale, but they are black and white. The pictures of the miners in these almost hellscapes in the Brazilian rainforest, eking out a miserable existence looking for gold are all the more powerful because they're in black and white. Because when you break away all the color that would have been in there, you're left with these shades of gray. So you cannot understand, you cannot tell where the person ends and the mind begins. Now, I can't tell you if color is right for your photograph or black and white is right for your photograph. You need to go with your gut instinct. You need to have the courage of your convictions that you need to tap into what does this, what do I want this image to convey? The feeling, the mood. And then see which one is right. The heart of great photography is, of course, light. It was light and most importantly, shadow as well. Desiree Dolbrun uses light and shadow to masterful effect, to create a somber, quiet mood in her photographs. Along with the color palette that she has chosen, the greens, the grays. Nothing too exciting, nothing too lavish. All of these combine to create a feeling within you. Think about how you feel about these photographs. What is the mood that they convey within you? And conversely, think about those photographs where the light is coming, streaming through a young lady's hair backlit and she's wearing summer dresses and it's all pastels and yellows and reds and things like that. They make you feel a completely different way, don't they? This is the joy of using color. If you want to create an introspective feeling, then put things into shadow. Don't be afraid of shadows. Shadows are your greatest ally in photography. They can hide things. Or they can bring other things into sharp focus. They can contrast with other aspects within the photograph. To convey a mood, think about images that have used light to make you feel a certain way. Make a mental note to them. If an image makes you feel an emotion, ask yourself, what has the photographer done to convey this emotion? Using light, using color, and there is another aspect that is equally important into making you feel a certain way about a picture. When you were starting off in photography, I think you were told, certainly I was told, to put the subject of your image in the middle of the frame. Now you can do this, of course, and it makes the image feel static, doesn't it? Especially if it's quite symmetrical, like a Wiz Anderson film. But what if you wanted to convey a unsettling feeling? How would you do that? How would you use composition, placement within the photograph, to make the viewer feel disturbed? Well, because one of the ways is just to use my old friend, the Dutch tilt, put the whole image at a wonky angle and you will feel, well, the viewer will feel rather, distorted, bizarre. The phrase Dutch tilt, I believe, comes from actually not Dutch, but Deutsch, like German. And it was about when they would put the camera at an angle to create just that effect in the old Daderist movies, the Cabinet of Dr. Caligari and all those sort of things, to throw the viewer off in portrait photography. If you want to create an introspective mood, then have a person off to one side, looking out. If you want to convey mystery, then have the person or the object looking away from the camera. These are all fairly obvious about people because it's easy to convey an emotion with people because we can tell the person who we're photographing, look a certain way, look sad, look happy, look worried. But what do you do to convey a mood and an emotion with an inanimate object? You can change your viewport. You could get down low on something. If you want to create something that was dominating and feeling powerful, shoot it from below, looking upwards. If you want to make the viewer feel all powerful, then photograph something from above, looking down.  That it's really, it would be so beneficial just to spend an afternoon photographing objects, common objects from unusual perspectives to see what kind of mood they convey. Even a lonely tree can feel very different when it is just the tree or when it is part of a forest. These images and all the photographs that we've looked at within this talk about creating mood and emotion within your photographs are constructed from these three pillars. Now that you understand what is affecting the mood of the viewer when they're looking your photographs, it's time to find those elements. And this method here, the script method, is what you need. Thanks ever so much for watching.