Uncle Jonesy's Cameras Podcast #95: Hot Hot Hot!

 by Kevin Lane

Sometimes Wayne and I forget that we have listens all over the world, and some of those listeners live in the southern hemisphere. So, when we go off about the weather - something we are prone to do a lot - we should be mindful that some of our listeners are currently experiencing the dead of winter and maybe wishing for some of the extreme hot temperatures that Wayne and I complain about in show #95. Then again, most people think only of the weather in their neighborhood and don't mind someone else doing the complaining, especially if it's sunny and mild at the beach.

Nevertheless it has been in the mid to upper nineties in eastern Tennessee lately with the heat index reaching or exceeding 100ºF, which some consider to be too dangerous to be outside. Wayne and I agree with these people, so we haven't been doing much actual photography lately. Instead, we've been doing other "photographic" things like making prints in the darkroom, organizing our negatives, and for me, learning how to cut mats. We thought others might benefit from a discussion of things to do when it's too hot to be outside, and, as usual, Wayne presents a lot of good suggestions in the show.

Wayne’s guide to cutting mat in the European “pedestal” style.

One activity that has consumed a fair amount of my time and thought is working out which cameras are going with me to Ireland this autumn. Wayne and I have discussed this (endlessly, it seems) on multiple episodes, and I wrote about it in the blog post for show #93. At that time, I was considering either taking taking a Hasselblad with two film backs (one for color and the other for b&w) or the Hasselblad (color) and my Leica M2 (b&w). However, it only took a couple of weeks before I began changing my mind (again), and soon another camera became a contender: my beloved Minolta X-700. It is my favorite 35mm SLR of all time, and I have owned one for most of the last thirty-six years. No camera fits my hand like the X-700, and I was reminded of this when I went to the closet and got it out. I thought to myself, "this is the perfect partner to my M2, if I go all in with 35mm film."

My Leica M2 will go to Ireland loaded with Tri-X . . .

. . . and my newly serviced Minolta X-700 will be shooting 
Portra 400 . . .

. . .  unless I change my mind again and take this little guy.

However, there was a problem. For sometime I had suspected that the dreaded capacitor failure problem that either has or will plague most Minolta X series cameras was beginning to show one of its symptoms: dim and/or dead LED lights in the viewfinder. This, along with other capacitor-related problems can be repaired by a qualified camera technician, so off it went to the camera tech that I have used and trusted the most: Garry Airapetov at Garry's Camera Repair. His work has been solid, and his prices are quite reasonable. Also, his turnaround time is amazing. I had my  X-700 back after a full servicing and capacitor replacement in less than two weeks! Now, it works like a new camera. Thank you Garry!

So, the M2 and the X-700 are going to Ireland, right? Well, not so fast. Wayne suggested that I take his Canon Canonet QL17 G-III, a very small but very highly regarded 35mm rangefinder camera. It's often referred to as the "Poor Man's Leica," which is in some ways a disservice to the Canon Canonet. Although it is a fixed lens camera, it's capable of making pictures with the same quality as the interchangeable lens Leica. And not only is it small, it also is quite light despite being solidly built. It's the perfect travel camera.

So now what? The X-700 or the QL G-III? 

As I write this, I am still leaning toward the X-700. However, my wife and I are about to leave on a two week journey to the northeastern USA. The trip is to celebrate our fortieth wedding anniversary and is a journey that more or less recreates a trip we took shortly after we were married. It will be the perfect opportunity to put the QL17 to the test as my color film camera. I plan to make semi-regular posts here on this blog during the trip, so stay tuned.

Meanwhile, Wayne has been very busy in his darkroom lately making prints for his Random Acts of Art project. You can learn more about it here.

As always, we get to read some great listener email on this podcast, and show #95 is no exception. We would love to hear from you as well. Send your photography thoughts to unclejonesyscameras@gmail.com. Also you can follow us on our Facebook and Instagram pages.

Uncle Jonesy's Cameras Podcast #94: Our First Fight

 by Kevin Lane

Don't worry; I just needed a catchy title for this blog post. Wayne and I are still very close friends who think alike in many ways. Wayne isn't just a Shutter Brother; he is very much like a brother to me, and I'm very grateful for having him in my life. 

However, that doesn't mean we agree on everything. Wayne thinks that a photograph that is not printed by the photographer who took it is not a valid representation of the photographers's work. I think that, at the very least, it can be. That is, if a great deal of care and research goes into making the print. In the show, I use the photography of Vivian Maier as an example. Maier exposed thousands of rolls of film, yet she made relatively few darkroom prints. When John Maloof and others discovered exposed film in 2007, the world began to be introduced to her photography only after her film was processed and scanned. Most of us who have seen her photography did so as a result of one of several documentaries and/or one of the several books that have been published. Some may even have seen her work in a museum exhibition. The vast majority of these pictures were never printed by Maier. Are they then not valid representations of her work?

The real answer to that question may be that we will never know. Maier, who died the very year her work was discovered, is not around to have her say. And given her extreme importance she placed on maintaining her privacy while she lived, she may have strong reservations over her worked being published in the first place, never mind how her pictures are printed today. The fact that she herself always printed her square format negatives as cropped rectangles actually lends credibility to Wayne's argument. 

Nevertheless, I am quite grateful for having Maier's photography available to enjoy. She had extraordinary talent and technique, and her pictures inspire me. I don't really care who printed them. I am simply grateful that they exist.

Vivian Maier saw and shot it. Someone else developed and printed/scanned it.
Who's photograph is it?

From Vivian Maier: Street Photographer, edited by John Maloof and published by
PowerHouse Books, Brooklyn, NY

In show #94 I present a review of Stephen Shore's book, The Nature of Photographs. I have only recently become acquainted with Shore's work and have enjoyed looking at two of his most well known photo books, American Surfaces and Uncommon Places. The Nature of Photographs is, as it says on the cover, A Primer that serves to explain how a photograph works - that is to say, how a photograph does what it does to the viewer when viewed. I found it very interesting and immediately re-read the book. In fact, because the book originated as a college course that Shore once taught, I decided to take notes as if I was in Shore's classroom. In addition to Shore's text, the book contains a large number of photographs that are used to illustrate his explanation of what Shore calls a visual grammar. I think that both photographers and fans of photography would enjoy this book.

We've really been receiving some great listener email lately, and the mail we read on this show is no exception. In one email, Professor Bear Brown asked about Wayne's extensive printing notes for his photograph of Burgess Falls. So here they are!

We would love to hear from you as well, so please drop us a line at unclejonesyscameras@gmail.com. You can also leave comments on our Facebook and Instagram pages.

Finally, we must give a special shout out to our listeners who have "shot the extra frame" and made contributions to the production costs of the podcast. If you wish, you also can contribute by going to our Ko-fi.com account.  Thank you!

Happy Photography everyone! Now go get some good pictures!

Uncle Jonesy's Cameras Podcast #93: Random Acts of Art

 by Kevin Lane

If there is one thing on which most normal people would agree, it would be that we could all use more kindness in the world. Not to preach, but the only way to make that happen is to take on the role of spreading kindness ourselves. Kindness comes in many forms, but they all do the same things. They make people feel better, and they inspire people to pass kindness on to others. 

We all have our own way of spreading kindness, but Wayne's Random Acts of Art is one of my favorite. In the past, in the past, Wayne has made a series of small prints and put them in mats that he cut from leftover mat board. Then, he places the print in a sealed plastic bag and leaves it in a random public place for someone to find. Also inside the bag is a note about the print and who made it. The person who finds it is invited to take the print home for free and also encouraged to email Wayne and let him know that the print has found a home.

Random Acts of Art soon to have a new home.

I am fascinated by this. Wayne is essentially giving away his work to people he likely will never meet. And yet, to me this is a win/win. Someone get a free photograph ready to frame and display. Wayne gets the satisfaction of knowing that his work is displayed and appreciated in someone's home. Of course, it cost Wayne money to make these prints, but I think it evens out with the enjoyment Wayne gets from being in the darkroom making photographs. Sometimes I think that Wayne actually comes out on the plus side. And let's be honest. Very few photographers are able to make money (much less a living) from their print sales. Most of us who consider photography a hobby know full well that hobbies like photographs  costs money. But we keep paying it, because it gives us something back. Using out hobby to benefit others seems to me to be the icing on the cake.

Meanwhile, I continue to think about my forthcoming trip to Ireland and which camera(s) I should take. Originally, I my plan was to take my Leica M2 and photograph Ireland with black and white film. Any color photography would come from my iPhone. This is what I did for my eastern Caribbean cruise last January. However, the more I considered this, them more dissatisfying I found this plan, mainly for two reasons. First, I didn't make a book with the eastern Caribbean cruise photographs, not did I intend to. Second, We're talking about Ireland here. Visiting Ireland has been a dream of mine for decades, And when I think of Ireland, I see color. I simply have to shoot a lot of color in Ireland. As good as the camera on my iPhone 16e is, am I really going to rely on my iPhone for what could be the majority of my photography there?

I want my Ireland photography to look like it was shot on film, bie it b&w or color. Otherwise, I would just take a digital SLR and shoot away, changing pictures into b&w when I wanted. But since I want the look of film, I will shoot both color and b&w on film. However, that means taking two cameras. Or does it? I actually can't believe that I didn't immediately think of taking my daughter's Hasselblad 500cm, a camera that uses interchangeable film backs. With color film in one back and b&w in the other, I only need one camera. Furthermore, I like shooting square format.

Nevertheless, I'm still not completely sold on this idea. Why? First of all, the Hasselblad is a heavy camera, and i will be on foot most of the time in Ireland. And second, do I really want to leave my M2 behind? It's the perfect travel camera. I even purchased a half case for it.

My Leica M2 with its new half case from Cam-In. How can I not take this to Ireland?

I have a little more than three months to work this out. Stay tuned.

Our listeners have really leveled up with their emails lately, and on this show, we get a great question about mixing and using homemade chemistry. Both Wayne and I mix our own film and print developers from raw ingredients, and it works well for us. I get most of my chemicals from Photographers Formulary, but some chemicals, such as instant coffee (for Cafenol C-L) and Borax (for D-76) can be purchased at your local grocery store. A small digital gram scale is essential, and a magnet stirrer makes mixing your chemistry much easier.

All this and distilled water, and you get a fresh homemade liter of D-76

As always, we love to hear from our listeners. Drop us a line at unclejonesyscameras@gmail,com and let us know what you've been up to with your photography. You also can find us on Facebook and Instagram.

Happy Photography! Now go get some good pictures!

Uncle Jonesy's Cameras Podcast #92: Enter the Hasselblad

by Kevin Lane

Have you ever owned so many records that you no longer remember what you actually have? I have. Several times I've come very close to purchasing am LP that I already own, only to have my wife thankfully save me from such embarrassment. Although I've never come close to purchasing a camera I already own, I have at times owned so many cameras (too many, in fact) that I forgot that I once owned one or two.

I can think of one such camera that hadn't entered my mind at all until quite recently, and although I purchased the camera, I did not own it. The camera is a Hasselblad 500 C/M that I purchased for my older daughter, Megan, to have and use for photography classes at the art college she attended. She made fine use of the camera and made a series of family photographs that got her noticed, and she even sold a print or two. I have since made a photobook of those photographs that lives on the shelf in our living room. 

However Megan's journey as an artist took her to media other than photography, and she asked me to look after the camera. Shortly after that, I loaned it to a close friend, Mark Gilliland, who happens to me a gifted professional photographer and a true artist, and he kept it for several years but used it little. Recently, I began to think about that camera, and this is likely because of my growing interest in the work of Robert Adams, who used a Hasselblad for his square format photography. So I asked Mark if I could have it back, and he obliged. I'm a couple of frames from finishing my first roll in it.

If you listen to our podcast and read our blog, you likely understand what I mean when I refer to 'camera mystique.' There is something mysterious about certain cameras - something almost other worldly, I suppose - that we find ourselves thinking about them, desiring them, and finding finding ways to own them. Don't take this the wrong way, but I think it becomes a kind of worship. We begin to ascribe certain powers to cameras that enable them to produce the kind of results that we all hope for and dream about. "If I had such and such camera, I could make excellent pictures."

Of course, cameras don't have any power at all, any more than a hammer has powers to make me a better carpenter. Nonetheless, we can't deny our perception of cameras as more than mere things. Some people feel this way about automobiles. For others, it's guitars.

I recently had the opportunity to use a Rolleiflex 2.8D, a legendary camera because of its Planar lens. I am well aware of it because of my love of the photography of Vivian Maier. Of course, I would love to own one, but what I really desire is the ability to see like Vivian Maier. Then, I could make better photography with the fine-functioning Rolleicord Va that I already own. Furthermore, I own the exact same 4x5 camera that Shutter Brother Wayne Setser uses (a Wisner Technical Field Camera). However I would gladly go back to using the Intrepid 4x5 that I previously owned if I could somehow purchase the ability to see like Wayne. Sadly, that's not how it works.

I hope you already have the camera you have always wanted, but what I wish for you is that you are seeing the photographic possibilities around you, and that you are devoting yourself to developing the skills needed to capture what you see. That's what I want more than anything else out of this. 

My Rolleicord Va and Megan's Hasselblad 500 C/M.

I recently acquired the KEKS M Meter for Leica M cameras. It is an updated version of the Leica Meter MR, which came with the M2 I purchased a year ago. I found the Leica Meter MR to be unreliable (probably due to its age), so I am looking forward to seeing what the KEKS meter can do. Stay tuned.

The KEK M on the lefty and the Leica Meter MR on the right.

The display is easy to read and the activate button is easy to reach.

Turning the knurled knob actually sets the camera's shutter speed.

As of the day I write this, you still have an opportunity to see Wayne's retrospective show, Things I've Seen:  Fifty Years of Analog Photography, at The Arts Center in Athens, Tennessee. It closes on May 22. It you can't get to Athens but still want to see the pictures, Wayne has made a fine book of every print in the show. You can get your copy by sending an email to unclejonesyscameras@gmail.com for only $20.00. And even if you don't want a copy of the book, we would still love to hear from you. You also can reach us on Facebook and Instagram. And if you would like to support us financially and help us with our production costs, you can donate at our Ko.fi.com account. We want to express our gratitude to all our listeners who have generously supported us with donations large and small. They all help Wayne and I to keep making the best shows we can. Thank you!

Wayne's show at The Arts Center in Athens, TN runs through May 22.

You can get your copy of Wayne's book by sending us an email.

Here is the link to the Leica YouTube channel video in which Anton Dunkelkammer demonstrates how to make contact sheets using 9.5x12 inch Ilford paper.

Happy Photography, everyone! Now go get some good pictures!

Uncle Jonesy's Cameras Podcast #91: It's All In the Book

 by Kevin Lane

A frequent topic of discussion on the Uncle Jonesy's Podcast is Wayne and mine's firm belief in the importance of photographs exiting in physical form. As Wayne often says, "A photograph is not a photograph until you can hold it in your hands." While some digital photographers may disagree with Wayne's statement, we feel what can only be called an obligation to make prints from our negatives, and it's a big bonus that we both greatly enjoy the process. Furthermore, Wayne's fifty years of analog photography has resulted in a large body of work, and from now until May 22 you can see over fifty of Wayne's favorite photographs at his retrospective exhibit at The Arts Center in Athens, Tennessee. I see this show as a tribute to Wayne's unrelenting dedication to excellence and honesty in the photographic arts, and I hope you can get by to see it for yourself. Also, the Arts Center is having a reception for Wayne on Friday, May 8, from 5:00 to 7:00 pm. Both Wayne and I will be there, and we'd love to see you there as well.

Of course, it's much more likely that you are unable to see Wayne's exhibit. We have listeners who live hundreds or even thousands of miles away from Athens, Tennessee, so we understand completely. However, Wayne has made a way for you so not only see the exhibit, but also a way to actually own reproductions of every print in the show. Yes, I'm talking about a book: Things I've Seen:  Fifty Years of Analog Photography. Wayne, who routinely makes high quality photocopies of his prints (not scans, mind you - he used his Sony A7), used the online service, Mixam, to produce softcover books that contain the entire exhibition for a very reasonable price of $20. All you have to do is email us at unclejonesyscameras@gmail.com, and Wayne will get back to you. And for those of you who are planning to see the show in person, you can purchase a copy at The Art Center.

I should also point out that the prints on display at The Arts Center are also available for purchase, and Wayne would love to have one (or more) of them on display in your home or office. While Wayne and I slightly disagree about whether or not an official quality reproduction qualifies as an actual photograph, I believe that, by purchasing one of Wayne's prints or a copy of his book, you will in fact own a copy of Wayne's art. Remember, a darkroom print is a first generation copy made from the original negative. The images in Wayne's book are only one generation further, and I think the quality of the reproductions in the book are excellent.

So, whether you purchase an original print or the book, you will not only own a copy of Wayne's photographic art, but also you will reward Wayne for his time, effort, and expense in making something that pleases you. Additionally, your purchase helps to enable Wayne to continue making photography, so the arrangement works for everyone.

Our podcast actually begins with a listener email from Mike Kukavica about the topic of filters, which Wayne and I discussed in show #90. Mike occasionally likes to use a combination of filters to darken the sky to almost black, and he included an example of this style. Pretty cool, eh?

Photo by Mike Kukavica

After a break, Wayne answers a great listener email about split grade printing, and I make a fervent plea to 7Artisans for a chance to review their newest lens release, their M 35mm f2.8 lens for Leica M and L39. Now, although I already own a genuine Leitz 35mm lens (an Elmer f3.5 L39 that, when attached to a Leica M adapter, works perfectly), I would love to compare this lens to my lens. From what I have heard online, the quality of the 7Artisans 35mm lens is very good, and it can be had for $428 USD. I think that is a great deal. So please, 7Artisans, if you're listening . . . 

Shameless plug alert: You can visit my Etsy store, Chattalog Photography, by clicking here.

As always, we would love to hear from you. You can email us at unclejonesyscameras@gmail.com, and you can leave comments on our Facebook and Instagram pages. If you would like to support us, you can donate at our Ko.fi.com account. And thank you!

Happy Photography everyone! Go get some good pictures!

Uncle Jonesy's Cameras Podcast #90: Everyone Need a Filter (Or Do They?)

 by Kevin Lane

Back in the days of camera stores in every city and even in every shopping mall, it was very likely that filters were the gear that sales people pushed on new customers immediately after camera bodies, lenses, and flashes. Very few new camera owners left the camera store without at least one filter in their shopping bag. It seems that they were a photography necessity, and not much has changed for today's film photographers. 

But just how many of us really know what filters do and how and when to use them? For example, colored filters can have an impact on black and white photography, as this excellent post by filter maker Hoya explains. In fact, some of the most famous photographs ever made would not have been possible without a filter. A perfect example of this is Monolith, The Face of Half Dome by Ansel Adams, an image you all know well. The massive granite rock is backlit, so that most of its face is in shadow. Nevertheless, the intricate details of the face of the dome are present. However, the most striking element of the scene is the sky, which is almost entirely black. This was achieved by the use of a red filter that, as red filters do, filtered out the bright dominant blue light of the sky to the extent that almost no light reached the film. No doubt the black sky was a part of Adams' previsualization process, in which he visualized the final look of the print first, and everything that follows in the making of the photograph is meant to realize that image in his mind. And, as any of us who have studied Adams' work, it was a technique he used often enough to create an Ansel Adams 'style' that is immediately recognizable.

Wayne's filter kit. It's always in his large format camera bag, but does he ever use it?

So, having known and photographed with Wayne for several years now, I found it curious that I cannot recall ever seeing him use a filter on his large format camera. After all, Wayne had credited Ansel Adams as an early influence. So, I put the question to Wayne in show #90, "How often do you use filters when making a photograph?" Sure enough, the answer he gave me was "rarely," and his explanation was simply that he doesn't like the dark sky look. I believe this answer says a lot about Wayne and a lot about Ansel Adams. Let's start with Adams.

You can say a lot about the work of Ansel Adams (and much has been said). His photographs are technically perfect, the subjects are significant, and the photographs are made of beauty as expressed in form. However, much of Adams' work expresses a sense of drama, and yes, his subjects had much to do with that. However, the black sky of Monolith, The Face of Half Dome helps create an emotional sense of the dramatic, something that is found in much of his photography. And we shouldn't be surprised by this, as Adams knew a thing or two about drama. First, he was a fine classical musician who in his youth desired and worked to become a concert pianist. Second, Adams wrote plays that he staged with his friends. 

Wayne, on the other hand, is not at all a dramatic person. He tends to be quiet, thoughtful, and nuanced, while still being self confident. He is a smooth sailor in even the roughest seas. And when you look at his photography, you see subtlety in his expression. His photographs are just as technically perfect, his subjects are as significant, and beauty as expressed in form is present always. But his pictures express Wayne as a person, just as Adams' pictures do for him.

So, what does all of this have to do with filter? Answer: Filters, like any other piece of gear, are simply tools we use to make our photographs look like we imagine them and to shape them into expressions of our being. If a filter helps your photograph to look like you felt  when you took the picture, then use it. If it doesn't, then don't feel compelled to use one. Experiment all you want, but follow up your experimentation with evaluation. Don't let trends shape you.

Speaking of Wayne's body of work, be sure to make plans for a visit to Athens, Tennessee during his retrospective show at The Arts Center. The show, which runs from April 20 to May 22, features fifty-one of his favorite photographs from fifty years of photography. The opening reception is on May 8 from 5;00 to 7:00 pm. I'll be there for that, and I hope to see you there as well.

A special thanks to all our listeners who have invested in the UJC Podcast with their financial support. Wayne and I will use these funds to pay for hosting expenses and also to make the podcast better. If you would like to support us, you can donate at our Ko.fi.com account. And thank you!

That's a wrap for show #90. As always, we greatly appreciate and value your feedback. You can reach us by email at unclejonesyscameras@gmail.com. You also can post comments on our on Facebook and Instagram pages. and if you want to help our podcast grow, you can do so by subscribing. By clicking the Subscribe button, you'll never miss a show. 

Happy photography everyone. Go get some good pictures!

Uncle Jonesy's Cameras Podcast #89: Wayne Puts On a Show!

by Kevin Lane

If you are reading this blog post (or if you have listened to the Uncle Jonesy's Cameras Podcast), I'd say chances are good that you have an interest in making photography (just like me).In fact, I'd go further to suggest that you spend a fair amount of time thinking about your photography, including celebrating the good work you've done and doing what you can to make better work in the future (just like me). I'd even go as far as to claim that you fantasize about having your photography exhibited in a gallery or museum show (just like me.)  

Yes, I am right there with you in hoping that my photography will be recognized as being worthy of such attention someday. But with my friend, mentor, and podcasting partner, Wayne Setser, this is not a dream but a reality. Wayne, who has been making analog photography for fifty years, is having a major retrospective of his work at The Arts Center of Athens, Tennessee. The show opens on April 20 and extends through May 22. In addition, an opening reception is being held in Wayne's honor on Friday, May 8, from 5:00 pm until 7:00 pm. 

It's difficult to fully express to you just how important I think this is. For Wayne, analog photography has been a fifty year passion to which he has devoted a great deal of time, energy, and money. However, that alone is not enough to warrant you making an effort to travel to Athens, Tennessee, to view this show. Wayne is the real deal, and his photographic work is genuine, truthful, and the essence of art. Why? Because it is the result of his search for and discovery of what is essential in art:  beauty through form. Finding such beauty and properly framing it in a viewfinder is a talent that Wayne possesses in abundance (and I am quite envious), let alone the skills of craft that turning his vision as seen in his viewfinder into a photographic print. While I may not want to make the exact same pictures that Wayne makes although sometimes I do), Wayne represents everything I want to be in my pursuit of photography. It wouldn't surprise me if, once you viewed his work at his show, you felt the same way.

Burgess Falls, TN, a thirty-five year old negative that required seven separate exposures to make this print

Fall Creek Falls, the King of Tennessee waterfalls. Most people photograph is from 
the top rim, but not Wayne.

This print from a nearly fifty year old 35mm negative us if an old abandoned farm 
house near Crossville, Tennessee. When Wayne's wife, Teresa, saw the print, she 
recognized the house as having once belonged to her great aunt.

Additionally, if you have listened to show #89 already, you now know that preparing for a show is far more than simply making the prints. Wayne, being Wayne, has personally seen to every detail in the process, leaving the only thing for the gallery to do is to hang Wayne's pictures according to his instructions. Wayne's artistic vision is behind every aspect of the show's installation and ultimate viewer experience. 

And dare I emphasize that, because Wayne's photography is all analog, every piece was made one at a time with his own hands.

I make a rant in this show regarding the place of real art in our lives - why it is or isn't on the walls of our homes. You will have to work that one out for yourself, but I know where I stand on it.

Our show concludes with some listener feedback regarding the printing and presentation of square format images  much to my appreciation. Also, we pay tribute to the listeners who have made financial contributions to the show. Thank you! If you would like to help us with production costs and also give us the means to make the show better, then please feel free to contribute at our Ko.fi.com account. We are grateful for all amounts, no matter how large or small. Thank you!

As always, we are grateful for our listeners, and we greatly appreciate the feedback we get from you.  We'd love to hear from you, so please drop us a line at unclejonesyscameras@gmail.com. You also can post comments on our on Facebook and Instagram pages.

Happy Photography!