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!

Uncle Jonesy's Cameras Podcast #88: It's Hip to Be Square

 by Kevin Lane

As you might expect, I always look forward to the days when Wayne and I get together to record a podcast. Just being with Wayne is an educational experience. When we are together, I always learn something new about some aspect of photography. How blessed I am to have such a mentor to help me in my photography journey. Additionally, Wayne has become a close personal friend, and I greatly treasure our relationship. I feel like I know him pretty well.

Nevertheless, I was greatly surprised recently when Wayne shared with me his most recent photography-related development (no pun intended). It seems that he recently happened to walk by one of the many cameras that he has on display in various placed in his home and had the sudden desire to take it to his workbench and get it working. That in itself did not surprise me at all, but I was caught off guard by the type of camera it was, a Zeiss Ikon Ikoflex twin lens reflex that shoots 6x6 cm frames on 120 film. In all the time Wayne and I have been together, I've never seen him use a TLR. What's more, Wayne famously dislikes square format.

My Rolleicord Va on the left, and Wayne's Zeiss Ikon Ikoflex on the right. 

Soon Wayne had the camera working, and the day we recorded this podcast, we went to the small town of Sweetwater, Tennessee and shot a roll of film in our TLRs (I used my Rolleicord Va, a camera I quite enjoy using). It was a bit chilly and very windy, and the cloud cover influenced our decision to use tripods (Wayne actually used a monopod), but we had a great time looking for compositions that lend themselves to square format. I am fond of square format images, and I have made the point to learn how to compose for them. Wayne actually enjoying his experience with the Ikoflex as well. I'll go on record here that I hope he continues to use the camera and that we can shoot our TLRs together again very soon.

It is true that shooting square format images presents some challenges in how to print and present the prints, and much of the first part of our show is a discussion about this. Since Wayne doesn't make square format images until now, I was really looking forward to getting his thoughts on how his prints will look. There are several options, and I've considered them all, especially those of certain photographers who I follow on Instagram and YouTube. Two of those are Vivianna Magdalena (Instagram and YouTube) and Lina Bessenova (Instagram and YouTube), both of whom use TRLs and make excellent prints.

Next, Wayne and I discussed contact proof sheets - how to make them and why you should. I began to make contact sheets of my negatives about a year ago, but Wayne has just begun to make them. Why? Because these days Wayne is shooting more medium format and 35mm film than before. The negatives are small, and making decisions about which negatives to print and how to print them much more difficult than with the usual 4x5 inch films sheets that he has shot for decades. Wayne knows how to read those negatives and doesn't need a contact sheet. Of course, now that Wayne is regularly making contact sheets, I just had to ask him about his process, and I think you also will find it useful.

Some of Wayne’s recent contact sheets.

With every show we record, we always seem to have some new piece of gear to discuss, This time it's a remote shutter gadget from the folks at Film Oddments. What makes this one interesting is that it uses Bluetooth and works with an app on your smartphone. you can dial in when the shutter fires and how long it stays open. Check it out.

The Film Oddments

We end the show with some great listener email, some thoughts about our next Photowalk with the Shutter Brothers, and one more thing.

During the entire existence of the UJC Podcast, we've never felt the need to ask our listeners for help regarding the financial costs of producing and hosting our podcast. However, our hosting service raised our costs by 33% in 2026, so we feel that now would be a good time to ask for help. So, we have created an account with Ko-fi.com, and if you are so led, you can contribute to the production and hosting costs of our show there. Please know that you don't have to do this, but if you do, we want you to know how grateful we are for you. Wayne and I are committed to making shows worth your time on a regular basis, and your help will motivate us to do so. Thank 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.

As always, thank you for being a UJC Podcast listener. I wish I could adequately convey my gratitude for each of you. There would not be a podcast if not for you and the kind feedback you sent us. Thank you again and again.

Happy Photography!

Uncle Jonesy's Cameras Podcast #87: Slow or Fast, It's All About the Print

by Kevin Lane

As the year draws to a close, I have been reflecting on what an odd year 2025 has been for me. I probably gave less time to photography this year than any year since going back to film in 2017. It's isn't difficult to work out why. Both my wife, Debbie, and I have been increasingly caring for our elderly mothers. Add to that my weekly commitment as interim workshop producer for my church, and there wasn't much time or energy for photography. Of all the aspects of analogue photography that I enjoy, darkroom printing suffered the most. I made precious few prints in 2025, and what I made wasn't very good, in my opinion.

However, it's a new year, and I feel a renewed enthusiasm for photography. I knew I wanted to do something special for the first UJC show of 2026, so I asked Wayne if he would leave the comfort of his own darkroom and join me for a printing session at the new and larger Safelight District Community Darkroom, where I serve as Education Director. Wayne and I have never printed together before, so I was very excited. You can't be around Wayne and not learn something about photography. And even though neither Wayne nor I had ever worked in this particular darkroom before (it being a new and improved location for Safelight District), we both successfully made a nice print, which you can see below.

Test strips and prints. Wayne’s is on the left.

After lunch we gathered in the office and meeting area of Safelight District to share our thoughts on printing and answer questions from Professor “Bear” Brown about test strips and split grade printing. If you listen to the show, you’ll learn about how Wayne and I differ in the way we make our test strips and why. As for split grade printing, Wayne has been using this technique for years as a means to “dial in” a desired level of contrast by controlling highlights and shadows separately. Last year I decided to commit to split grade printing and learn how to make it work for me. Thankfully, I have Wayne as a mentor, and our listeners can benefit as well.

Our next printing topic is an old favorite of mine: instant prints. I am blessed to have a working Polaroid SX-70 SONNAR One Step camera, and I especially love to use it during the Christmas holiday season for gatherings l love to see the smiles on people’s faces when I had them a print that came from the camera moments before. However, I ran into an unexpected problem when I could find the neutral density filter that enable me to use 600 film instead of the much harder to find SX-70 film that the camera was intended to shoot. I ended up having to borrow a Polaroid 600 camera , which worked well. But this has got me thinking seriously about having my SX-70 SONNAR overhauled and modified to shoot 600 I-type film natively. There are many advantages to this, such as being able to shoot film that is available locally and also less expensive (because the camera has its own power source and doesn’t need film packs with batteries), in addition to having a cleaned, lubricated, and adjusted camera that should produced properly exposed photographs for a long time (assuming Polaroid continues to make film).

As I researched all this, I came across a very enjoyable and educational YouTube channel, The Instant Camera Guy. Jake is a young man who lives in Australia and makes his living repairing and modifying Polaroid cameras, and it is clear from his many videos that he knows everything there is to know about them. The level of skill he demonstrates as his hands disassembles, repairs, and reassembles these old and very complicated cameras is beyond impressive. If I could just solder half as well as he does . . . 

In the course of discussing color prints, I make reference to Nick Carver’s YouTube video on how to make “quick and dirty” scans of color negatives using SilverFast 8. Although I don’t enjoy scanning film, his very helpful video has enabled me to use SilverFast to get color negative scans that actually makes me want to shoot more color film. Actually, I highly recommend his channel; his videos are highly entertaining and informative. 

We end the show with a short discussion of possible locations for our 5th Annual Photowalk With the Shutter Brothers, which will happen sometime this fall. We would greatly appreciate suggestions from our faithful listeners regarding where in the southeast United States we should meet up. If you would like to contribute a suggestion, or if you have other feedback for Wayne and me, our email address is unclejonesyscameras@gmail.com. You also can post comments on our on Facebook and Instagram pages.

Uncle Jonesy's Cameras Podcast #86: Chatt With Matt

by Kevin Lane

It's a well known fact that just about every photographer (especially those who consider photography a hobby) loves to converse with other photographers. It is very much like a common radio frequency they all share. It's certainly true of Wayne and me whenever we get together (which is why we like to make a podcast). It also motivates us to host the Annual Photowalk with the Shutter Brothers, the 4th annual edition of which taking place last October 25. Altogether we had eight participants, and we all had a splendid time exploring Old Stone Fort State Archeological Park near Manchester, Tennessee, looking for compositions and chatting about gear, film, and general photography talk. Wayne and I already are thinking about future photowalks, so stay tuned.

And speaking of photography chat, we invited one of our photowalk participants to chat with us on show #86. Matt Dunmore is a prolific film (and sometimes digital) photographer based in Chattanooga (my home town), and makes urban landscape photography that I find to be quite interesting. Matt has photographed many Chattanooga area landmarks, including some that I also have photographed. However, I find his compositions to be both interesting and inspiring. We really enjoyed having Matt on the show! 

You can follow Matt on Instagram at @mattdunmore. Here are a couple of shots that we talked about on the show.

Finally, we want to congratulate Tori Fyth and Safelight District Community Darkroom on their successful move into a much nicer space with not only a larger darkroom space, but also a large work area and lounge! The space is so nice, that we asked Tori if we could record our podcast there, and it was a lot of fun.

Matt Dunmore relaxes at Safelight District

Kevin and Matt discuss urban landscapes.

As always, thank you for being a UJC Podcast listener. I wish I could adequately convey my gratitude for each of you. There would not be a podcast if not for you and the kind feedback you sent us. Thank you again and again. 

Happy Photography!

Uncle Jonesy's Cameras Podcast #85: How to Ruin a Perfectly Good Hobby

 by Kevin Lane

So far, 2025 has been another "quite the year" for me as most of my efforts since January have dealt with the declining health and eventual passing of my mom, the settling of her estate, helping my wife care for her elderly mom who also is in declining health, and church responsibilities that were not on my radar this time last year. Suffice it to say that photography has taken a back to all of this. I've probably shot less, developed less, and printed less this year since 2017, when I resumed using film cameras after a fifteen year lapse.

You, however, are probably thinking that my film photography hobby would have been a source of stress relief during this stressful nine months, but the reality is that it actually was the cause of stress for me. Imagine that. Something that was supposed to give me some distraction from the trials and tribulations of life was, in fact, adding to it, and in late August, the pot boiled over. I was ready to give up. I am not kidding. I was ready to walk away from film photography, sell my gear, and put an end to this podcast and blog. No joke.

It was Friday, August 25. Our community darkroom, Safelight District, where I serve as Education Director (a fancy way of saying that I teach the workshops there) was to have its monthly meetup of members and interested people. Since the meetup was at a bar located next to the darkroom, I decided to book a printing session, so that I would have some new prints to show to those who came. My plan was to 'go big' and make some 11x14" enlargements of some of my recent 4x5" negatives, although, due to reasons stated above, I hadn't really made many lately. So, after preparing the darkroom and mixing my chemistry, I set to work on a negative I shot some time ago in Dayton, Tennessee, of a coffee shop with a large Coca-Cola sign painted on the brick wall of the shop. The negative look ok - well exposed and in focus - but there wasn't anything special about it. It could have been just as well photographed with my iPhone, but here I was printing from a 4x5 sheet of film onto an 11x14 sheet of Ilford fiber based paper. None of this stuff is cheap, as you know, not to mention the cost of my Wisner 4x5 technical field camera and the Fujinon lens. 

First, I made the test strip. Then I made two more, having decided to attempt spit grade printing. Next came the first work print. It looked dull and lifeless, so I tried again. It looked somewhat better, but I wasn't feeling it at all. Nevertheless, I kept at it, sheet after sheet of expensive paper, while my booked time ticked away. Finally I got a print that looked decent with the lights turned on. but as I looked it over, all I could muster was . . . "meh."

11 x 14 inches of meh. I didn't even bother to flatten it.

Why? The answer is simple. It was a picture of a brick wall with a Coca-Cola sign painted on it. Nothing less, but nothing more. While I like Coca-Cola as much as the next person, I had zero connection with the subject of this photograph, but I had spent two and a half hours trying to make something special out of it, when it wan't there to begin with. I mean, who would want this photograph hanging on their wall? Nobody I know, and not even me. Especially not me.

However, I'm not the sort who gives up easily, so I flipped through my 4x5 negative sleeves, looking for something to print. While there weren't many (see above), the ones that were there weren't much different from the one I had spent two and a half hours trying to print. "Why did I shoot these?," I asked myself. 

So, I gave up on printing a 4x5 negative and pulled out a negative sleeve with the roll of 120 film I shot with my Rolleicord for the Great Film Photo Meetup earlier in August. While it was fun to meet up with all the participants for this event, some of whom I had known online for a few years but had not met in person, I did not feel especially creative that day. It was hot in Chattanooga, and the morning light was harsh. Besides, I live here and walk and photograph here often. Nevertheless, I shot a roll of Kodak Tri-X before lunch. Later when I developed the film, every frame looked well exposed and in focus. My Rolleicord did its usual great job.

However, when I looked over these negatives on the light table at Safelight District, my mood darkened even more. Here they were, twelve perfectly exposed and focused 6x6 cm frames, but not a one of them looked significant enough to print. Once again, I had no emotional connection with any of the images, and since I shot them, I had no one else to blame except me. 

With only one hour left before the meetup began, I pulled out one of the two rolls of 35mm Sri-X that I shot with my Leica M2 while one my very first trip to California back in June. Debbie and I traveled with my youngest daughter and her husband, and it was a wonderful experience in every way. I managed to shoot two rolls, and they all looked good when developed. I had already made prints of a couple of frames, and I knew there other worthy images waiting. So, I go busy making prints - and here I made a conscience decision - screw the large prints. I printed on 4x6 postcard paper. 

The first two prints, both interior shots of wine glasses and bottles on a table in the wine bar we had visited (and had a wonderful time together) looked exactly as I pictured them in my head when I shot them. My heart started to beat faster and my excitement grew - until I looked at my watch and saw that it was time to go to the meetup. At the end of a four hour printing session, I had two wet 4x6 prints to show for my efforts, too wet to take to the meetup. Well down, Kevin!

As I drove myself home after the meetup, I seethed. I steamed. I lectured myself loudly in the car. 

"Why do you make photographs of subject that you care nothing for?" 

"Why are you trying to make something when there isn't anything there to make?"

"Who do you think you are? Are you really talented enough to create something out of nothing?"

"When did forcing it become a good idea?"

And finally . . . 

"You know, this used to be fun. Why isn't it fun anymore?"

It took a few days to formulate some answers to these questions, and the answers led me to the sobering conclusion. I was ruining my film photography hobby by trying to make it something it wasn't or could never be. I had set up for myself standards and goals based on unrealistic aspirations - aspirations that came from photographers whom I admired and whose work I greatly enjoyed. I wanted to be like them and make significant photographs like they did. And I can't. I'm not them. 

The narrative of 'what happened next continues in UJC Podcast #85, so I won't recount it here. I really hope you will listen to Wayne and I as we discuss ways to ruin your perfectly good photography hobby and also how to repair the damage. I'm happy to report that my story has a happy ending, and you can see some first fruits of that in the photo below.

Little postcard prints. The fun is back!

Here is the outline I followed in our discussion:

Our second topic, ironically enough happens to be our forthcoming 4th Annual Photowalk with the Shutter Brothers, which is scheduled for Saturday, October 25. The location will be Old Stone Fort State Archaeological Park, which is just outside of Manchester, Tennessee. The theme for the photowalk returns to nature photography, and you will find plenty of natural subject matter there. There will be a Facebook event page very soon with all the details, so check there often. Wayne and I look forward to seeing as many of you listeners as possible, so please mark your calendar now and make plans to attend.

We end the show with listener email (which happens to be my favorite part of all of our shows). 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.

As always, thank you for being a UJC Podcast listener. I wish I could adequately convey my gratitude for each of you. There would not be a podcast if not for you and the kind feedback you sent us. Thank you again and again.

Happy Photography!

in the morning of the day that Wayne and I recorded show #85, we photographed a Rock City barn not far from Wayne's home. If you haven't heard of Rock City Gardens, you can learn about its history here. And if you haven't seen Rock City, all I have to say is, "Really?!"

As Wayne and I were setting up our tripods, we were greeted by a nine very 
curious cows, all of whom were certain that we were there to feed them.

In the show I refer to a photobook on the subject of Rock City Barns.  The author and photographer of the book is David B. Jenkins, and here is his website. His book, Rock City Barns:  A Passing Era, is a favorite of mine and can be found here.

My copy, which is signed by the photographer and author.