211 in Progress

In this episode, Ward kicks things off by sharing his experiences at the Calgary Stampede, a massive fair and rodeo. He talks about using his new camera gear, including his trusty Fujifilm X-E3 with a 23mm lens for wide shots and the new Fuji X-S20 with a 50mm lens for more detailed portraits. Ward explains how he uses the 23mm lens for capturing groups of people in candid moments and the 50mm lens for more composed shots from a distance. He emphasizes the importance of getting into the right mindset to capture compelling images, especially in such a lively setting. Ward also reflects on the importance of enjoying the process of photography, from shooting to editing.

Antonio then brings up an interesting discussion about the ability to simultaneously experience an event and document it through photography. He draws on his experiences filming concerts and live shows to illustrate how seasoned photographers can balance both aspects. They discuss the concept of "seeing" in photography and how it can transform one’s perception of everyday environments. Ward mentions his approach to street photography at the Stampede, including his strategies for shooting at night and using different lenses to keep his work fresh and engaging. The conversation explores the challenges faced by beginner photographers and how they can learn to see the world differently through their cameras.

 

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Antonio M. Rosario's Website, Vero, Instagram and Facebook page

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Episode Transcript

(00:02):
I feel the space, the light, the color, the form, and the scene simultaneously.
I'm not thinking. I'm sensing the street.
Read the street in front of you, and the picture will present itself.
Music.

(00:30):
Hey, welcome to the Street Shots Photography Podcast.
This is Antonio. And this is Ward. And this is episode, what are we at? 211. 211, yeah.
211. That sounds like a police code.
We got a 211 in progress. It is, isn't it? It is a 211, isn't that?

(00:52):
That's a burglary in progress for LAPD, isn't it? I don't know.
211 in progress. I Google it now, but I don't want to just, yeah, well, episode two 11.
I know this sounds so familiar. Now I'm saying we have a two 11 in progress. Yes.
This is episode two 11 in progress for the middle of July, 2024.
We got old TV on the brain, my friend. We got old TV. It's been watching too

(01:16):
much Adam 12. That's right.
What was it? Was it called Adam 12? Yeah. One Adam 12. See the man. Yeah.
Now I need to look up what, what, uh, police.
Okay. Now I got to look at a police 11. Sorry. Yeah.
And we got into this, uh, two 11 is a police dispatch code that indicates a
potential robbery in progress. Very good.

(01:37):
Dispatchers use this code to inform
patrol units that a robbery has been reported in a specific location.
So yes, don't anybody turn your volume up too high. This is not a robbery in progress.
The only thing we're going to be robbing is your time, right?
I guess for the next hour, which you'll be giving willingly. We hope.
Yes. Willingly. And this is again, not scripted. This is happening live.

(02:00):
That is terrifying yeah yeah and
we might sound a little different because we're earlier in the day today that
we're recording i actually i don't know if we can tell the difference maybe in
just our demeanor in terms of like we're not exhausted and or not exhausted
yet yeah yeah not exhausted yet how you doing over there i'm doing really well

(02:21):
yeah i've been busy working and busy working at the calgary stampede which i
was telling you about so So yeah,
we'll talk about, we'll talk about that. Yeah. How about you,
my friend? What's up with you?
Uh, not much. It's been kind of slow. I do have a class tomorrow,
which is tomorrow will be Friday.

(02:41):
We're recording this Thursday. Tomorrow's Friday. I got a class at the library.
It's actually the first time I'm teaching this class. It's funny.
It's in, I need to change the names. Intro to digital photography.
And the only reason I haven't changed the name yet, because it's,
it's kind of the sort of the running name that I've got for all my classes.
And I didn't name the class initially that way, but it's the first time I'm

(03:02):
teaching this specific class at the library through the library,
not through brick or anything like that.
You know, I was thinking about that. Like someone was saying,
isn't, you know, digital photography redundant. And I was like,
you know, I actually joke about that during my presentation.
And I thought if it was just saying introduction to photography,
I was, I was wondering if like people who are just beginning might.

(03:25):
Right. Think that it was like, well, I don't have a, you know,
like maybe they think it's a film photography class or something like that.
And like adding the digital photography makes it, you know, it's a,
it's a class for beginners.
And so it makes it more inviting or something. I don't know.
What do you think? Well, it's not a history lesson starting in 1834 in France,
you know, like, oh no, what have I walked myself into?

(03:47):
No, no, I think digital photography is fine.
Cause then you can match yourself with a phone or your new Sony or whatever.
Whatever yeah although i i do oh you
know what i i didn't put this in the description i did put in
the description that it's not for it's not
for smartphone photographers though oh okay all
right yeah just because because half the

(04:09):
class i spend or a big chunk of the class i talk about the relationship with
shutter and aperture and right and i think that's in the description of the
class because you know that to me is important and like you know once i start
giving that that information out about like those relationships between the
light and the creativity, like, you know,

(04:29):
shutters being aperture deal with light, but they also deal with your creative process.
And, but I don't, you know, if someone doesn't have a camera,
I was like, get out. Yeah.
I was like, you know, when, if you, you know, if you're, when you're ready to
get a camera, that's not a smartphone camera, this stuff will help you. So, yeah.
So I got that, I got that tomorrow. And, uh,

(04:51):
I had to, I was retooling my slideshow a little bit for this because this is not a workshop.
It's a, I'm teaching you photography and, and, and so there's a lot of slides
and, and a lot of photographs like, you know, and, and, and explanations.
So that's, and I can get a little dull, but I try to put a break in the middle there.

(05:12):
So they're not, uh, falling asleep too much. And, uh, I don't know.
I'm looking forward to it. although the library that i'm working in i know the
room that i'm in they've got one of those giant projectors on the ceiling yeah
it's like the size of a like an ottoman stuck up
there and i don't mean
from you know the turkish implant no they're
from i think you put your feet on when you're sitting on the feet i'm not like

(05:35):
some guy in a you know old time outfit hanging out and showing slides yeah that
would be actually kind of a funny day anyway it doesn't it matter i don't know
that's my train of thought oh yeah but it's it the library is not that room,
even though it's got tall ceilings it's not air conditioned very well
so i'm like gonna do a you know a dance tonight to hope that the gods of humidity

(06:03):
don't appear tomorrow because that room gets really hot with that projector
right and then everybody gets kind of sleepy and stuff like that So anyway,
I'm looking forward to it.
It's an, it's the digital photography class and I've thrown in some history.
I do throw in a little bit of history because it's one of the things I tell
them is that, you know, if you want to, one of the best ways to improve your
own photography is to look at other photographers.

(06:25):
You know, so I just a little bit of that because you know, get into a whole
class on that, but I had to throw that in.
But today I was retooling the slideshow to talk about sensor sizes and that
can get a little, a little geeky. but I did record a, an advertisement from
BNH while I was on YouTube and it popped up. I don't know.
I saw it like a couple of weeks ago and I was like, Oh, that would be such a

(06:47):
great, you know, like four minute video.
To play for the thing you know and i was like well how am i going to record
it i couldn't and then finally it popped up on when i was on my computer it
popped up on my youtube on oh cool,
it's a discussion of sensor sizes is it yeah yeah
it's just like the guy's talking about the four sensor sizes the medium
format you know medium format full frame and like what and i
thought it's a nice concise little thing

(07:10):
about sensor sizes so i thought oh that might you know throw in
a video for four minutes and it's an ad for bnh so you know i don't think they'll
care too much bnh logo at the bottom of it anyway so that's a sort of long-winded
way of saying that's what i was doing i have not been i've not been shooting
that much lately strangely enough,

(07:31):
i've been shooting a lot like really a lot well let's then since i'm not shooting and you are,
let's let's go into that a little bit i mean just to go
for a side like not that i'm in any kind of mood or something
like that i've been actually spending more time writing and writing
it is a creative act you know i'm not
like thinking something's wrong with photography i mean i

(07:52):
got my camera sort of lying around and every now and then i pick one up and
you know take a couple shots of something but i'm not going out and actively
shooting it you know it's just that doesn't sound right actively shooting yeah
i know it's you gotta yeah if we can't watch out for those terms.
I don't really like them anymore.
Whoa. What's up? Oh, we got a, we got somebody here who wants to say hi on, on camera.

(08:17):
There we go. He's going to talk. Well, actually if he's up here,
he's not going to talk. This is OP by the way.
You might've heard him in the background, but he's going to hang out with me
because we're very low key here. Anyway,
So yeah, no, I haven't, I haven't really taken my camera out for a walk or something like that.
So let's hear about your experiences with walking. I mean, we talking about,
we were talking about that last, last time, right? Yeah.

(08:40):
You were, had already gone or you were about to go? I think, well, the.
It was two weeks ago. It was two weeks ago. So before we had talked about the
Handhills Lake Stampede, which is that rural stampede that I had.
You were about to go, right? With your new cameras, right? No.
No, we came back. We were talking about my experiences, you know,

(09:00):
coming, coming back, whatever.
And that was all two episodes ago.
And so this week is our, well, they call it the Mardi Gras for Cowboys,
the Calgary Stampede, which is 10 days of, it's like a big state fair and rodeo.
And there's a big midway fun fair, like the part, it's basically the parking

(09:21):
lot for the, the, the rink for the NHL team here. So it's this huge area.
Are you going there tonight?
Yes. Yeah. I've been every night since, uh, every night except this past Saturday
when we went over to our neighbors for, for to visit because they're going to
whatever they're going on a family trip later on this summer.

(09:43):
Thought it'd be our last time to visit with them before they left.
Anyway. So this was, sorry, I gotta finish my sentences. I was waiting for you
to even describe what you guys were eating and what you did.
I was like, Oh, let's go on that path for a little while.
No, no, no. We'll cut that out, dear listener.
No, they have to, they get to, they get to hear everything we say.

(10:06):
So anyway, go ahead. So I work, I work during the day.
I get, thankfully I get to finish work at three in the afternoon and so I can
come home, maybe have a shower, take the dog for a walk.
And then by about dinnertime, five or 6 PM, I'm back down on the Midway and,
Now on my chest, I have my X-E3, which is my street workhorse,

(10:27):
which you saw me work with in New York.
And then the other was the new X-S20.
And I put the 23mm on the X-E3 and the 50mm on the X-S20.
I ran into some acquaintances every now and then, and you always do when you're
down there so often and you've got friends in the photography community.

(10:48):
I use the 23 millimeter for trolling and I use the 50 millimeter for big game
hunting. So there's two different modes.
So if I wanted something really composed of a person that's a little bit further
away, kind of more portrait-y, then I'd use the 50.
And if I just wanted to get the group, you know, groups of people as they're

(11:10):
walking toward me and in large groups, and I just wanted to get interesting
fleeting gestures and arrangements Then I'd use the 23.
Yeah. So that was, that's what I've been doing every night. And no,
it's a lot of, a lot of fun.
So you're, you're now, I mean, you were doing street photography.

(11:34):
The last time we talked about this, you said you had a Canon camera and you
did street photography with it.
No i had done no the very first street photography i was doing was with my iphone 4.
And canon it was a canon s100 it
was like one of those little tiny portable elf

(11:55):
whatever you want to call them yeah and then you and then you
went you had the the fuji eventually you had a fuji x x20
yeah which i think i got in 2015 2014 so
what what's it like doing i mean
you're using the 50 millimeter on this on this this new
uh success 20 yeah yeah and

(12:17):
that's a different process yeah it's
much more considered i stand still lining up i see an interesting group of people
that in a certain way and they're reacting and i know that they won't notice
me standing there pointing the camera at them where with the 23 if i kind of

(12:37):
stopped where i was you know
with a wider group i would definitely more or less be noticed here i'm standing
a little bit further away you know while the people are playing whack-a-mole
i can be at the end at one end and shooting across down at them while they're
playing their game and i wouldn't be noticed,
he's not using a little flip out screen on that not at all no no how come well

(13:02):
i i'm using the viewfinder for those i'm looking through the camera for those
so those are not right from the the hip no i'm fine with lining it well yeah
yeah all right it's fine i mean you know.
It's all right. It works. Well, no, I was thinking like that,
you know, the, the advantage of that kind of, you know, system with a flip out

(13:22):
screen is that you can be a little more discreet about taking pictures.
You're not looking through, but then it's at your, then it's at your waist. Yeah.
And then if I'm that, then I'm, or I'm already sort of doing that,
but I'm just not looking at the viewfinder when I'm shooting from the hip on the 23.
Three i'd never really it hadn't really occurred to me you

(13:43):
know to use the camera like a twin lens and with
the success 20 if i
get it's pretty cool it flips it flips out and i've
got the camera strap coming down and so it's not
like the tip out like you know on an
x pro 3 or whatever where it can you can
kind of tip it out and point it straight up here it's

(14:04):
off to the side of the camera and that way the
camera is more for video right for that sort of thing yeah
yeah i mean i i you know when when you were
in town we were walking down the streets i used that camera or
my the x h 2 s or whatever which is the same body yeah but i use that flip out
screen but it is kind of awkward in a fast moving situation like street photography

(14:28):
i also feel like it's going to break off you know yeah because it's it kind
of feels flimsy and stuff like that so yeah for video it's It's good for,
or like, you know, doing low angle shots or high angle shots.
Anyway, so. But I have the screen flipped in, like I'm, I'm not,
I don't even have the system.
Right, so you don't look at the back of it. So I don't. Oh, so you don't see
it at all. I don't see it and I, I adjust the menus and everything looking through the viewfinder. So.

(14:49):
Yeah. I treat it like. You're using it like a real camera.
I'm using it like a real camera and it's still a great novelty.
Yeah. So. So what's the, what's the experience you want to share about that?
Well, there are a few things. we're using the new gear getting
into it finding a new headspace
like i've been doing shooting down at the
stampede probably now for 10 years you know working at least five or six days

(15:15):
of the 10 there and i'm there for four or five hours at a time usually in the
evening like after work and through the dinner hour either tomorrow or saturday
i'll work late and then i'll do or
maybe both nights I'll work late so that I can do some street at night.
I'm looking forward to using the XS20 for that.
Sorry, you do this during school days too? I mean, like, I guess tonight is a school night.

(15:39):
Yeah. Well, I work, like I say, I work until three and then I can come home,
clean up, whatever, and then get on the train and go down there.
Yeah, I go to work tomorrow, yeah.
But tomorrow's Friday. I sleep in Saturday. It's fine. It's all good. Okay. All right.
So, I mean, the continuation of this work, it seems like kind of like a life's

(16:01):
whatever, a thing I have to do.
So, I'll do with a little bit less sleep and I show some of my co-workers the
work that I'm doing and they like what I'm doing.
So, they'll forgive me if I'm a little groggy at the morning meeting.
So, you know, I'm going to try to work all the angles here. yeah
so i put a lot of put a lot of miles on the shoes and and do a lot of shooting

(16:26):
it's a primarily you know it's it's people there isn't too much architecture
although we have a new convention center on the grounds there which is quite
nice but it's just walking up and down that,
whatever that three quarters of a mile from one end of the grounds to the other and,
up up one pathway through where all the carnies are and everything and back

(16:48):
down through where the rides are and watching for the light and looking for
interesting people and trying not to get into any ruts of,
you know, I'm just going to take pictures of tall people or I'm just going to
take pictures of tourists or whatever.
Do you do that? Do you, you know, well, sometimes, well, I, I'm like,

(17:10):
Oh, take a picture of, well, no, I'm not, no, really.
I'm trying to get myself out of that. I'm trying to be as democratic as I can
try and shoot everybody.
And every now and then there are moments where there's, you know,
the last couple of years there are these really earnest young couples who are
in love or in crisis or something. It's very dramatic.
And so I try and capture that.

(17:32):
And yesterday I got a, was it yesterday or the day before, I got a picture of
a child with his presumably grandmother consoling her.
It's quite a, quite a heartfelt kind of. The kid was consoling the grandmother?
Yeah, had his arm around his grandmother.
His grandmother's head was, you know, face was in his chest.

(17:54):
So I don't know about what went on there, but it was just, and there are millions
and millions of moments like that in an event like that.
And they set a record, actually, on Sunday, I think, that 201,000 people went in through there.
So it was the busiest, although I didn't really feel that it was the busiest
day that I can remember there.

(18:17):
But it was quite a crush of people.
And it's interesting for me, so many people go there and they kind of dread
it because it's going to be hot. We had some really hot weather here yesterday.
It was 100 degrees Fahrenheit down there.
But, you know, 15% humidity, so, you know. It's hot, but it's a dry heat. You know what they say.

(18:39):
So there are people that go down there kind of in some families
you can tell dad is just dreading now we have to get in line for this we
have to get in line for that and there's the all these kind of
emotions and the little ones are hot and they're tired and they're
crying and there's all of this kind of human
drama going on of these people like when do
we get when do we when can we get out of here okay we
got to do all these things check off all these boxes and whatever

(19:02):
and my and you
know the crush of people and for me it's i'm i
want to be there i'm there to capture all this and i am relaxed and i am wide-eyed
and watching all the stuff that's going on and just to see how we're all there
for different reasons and how for me it feels like i should be.

(19:26):
There like i'm documenting something i don't
know and then being encouraged by the
results and so on kind of feeds on itself and i
like the whole process right you're you're i'm sorry.
To interrupt no that's fine when you're
saying that it reminds me of like you know going to time square in
the city i mean time square is an easy target for making fun

(19:49):
of and and it being overcrowded and the
sort of the same kind of discussion you're having is too many people and
all sort of wandering around yeah they're the
the impatient parents who want to get
away from the people who are dressed up like you know batman and
and you know like a muppet or
something like that yeah and then you know going there as

(20:12):
like if i'm going to do photography which i
haven't done that much but i i have gone to times square
occasionally walk through with my camera knowing like
okay i'm gonna be here and i'm gonna photograph it it is a
completely different experience and i can
deal with it like i can deal with the crowds and the smell and
the nonsense because you know basically

(20:33):
you don't have to be there you want to be
there right well yeah and i
mean i'm assuming that the people who are there want to
be there too they just don't like it yeah you don't
go you don't wander into times square because you're you know
you're trying to get someplace you know it's not a it's like
a place it's a destination yeah so i do

(20:54):
think people go there because they want to they just when they you know i'm
speaking i can't speak so generalized i'm sure people
like it there because it's so light you know it's so uh crazy there.
But that idea of being someplace and putting
yourself in that situation really just does change your mindset and
and and you like you're saying you put
miles on your shoes you know you can do that very easily or spend hours in some

(21:16):
place and like oh what did i just do i spent hours in times square you know
someone says i can't stand times where it's like well i can when i've got my
camera you know it's just it's it's it's interesting because you're looking
you're in the same place the same you.
Maybe a different mindsets you know you were saying you said something about
headspace before when you said that i thought that's uh,

(21:39):
an interesting way to those in reference to the new camera
right that i've got another opportunity so you're
doing this doing this thing year after year it's you
know you could say you could struggle to keep it fresh i'm i
suppose that's true if you get in a rut when you're shooting and
you're just shooting a certain way all the
time you got to make yourself aware uh

(22:01):
that you're you should maybe look for
something else and those moments where
i kind of fatigued were from looking and looking and looking
then i'll go you know get a snack or a you know beverage or something and just
sit for a few minutes and then pick up and go again are you saying that like
if you get in that kind of rut you can challenge yourself by in in in this sense

(22:26):
maybe having a different type of.
Piece of gear that you're never that you're not used to well
it was the opportunity was there to go okay so if
i'm in a rut let's use a 50 a little more and
with a new camera right and start pointing it
that's a challenge though yeah yeah i mean well not for
you you've done this before right yeah but i mean i still have
to get spun up right i still have to like oh yeah yeah think

(22:48):
of okay now i'm not just walking through the
crowds with grab shots and looking for those young
couples that are in in trouble or whatever yeah i'm like
now i gotta look for i gotta look for compositions
that are already there and i've gotta be
in the right place and look more critically at the light and it's a more a more

(23:11):
considered way to shoot yeah as you're saying this remembering like on purpose
going out with i can't remember what camera i have but i put a 75 millimeter lens on,
So on our Fuji, that's what, 110 millimeter?
Yeah, it's getting long. So it's like a 105. And 105, your street photography
is thinking in terms of like a saw lighter or any of those,

(23:34):
photographers who go out and do street photography with a slightly telephoto
lens, which is a bit of a challenge. Absolutely.
And the frustration I have with the first time I did that.
I mean, I was kind of happy with the shots that I got, but there was a definite...
Frustration and then even like i'm not doing this today you

(23:55):
know i put the camera away or something like that and it reminds
me of and you know then going back maybe to my 23 millimeter
right because i'm so used to and there was
a is that a meme or a cartoon i
can't remember and it's like there's a guy standing in front
of three doors right and the first door says movies movies i
haven't seen the second door was movies my friends

(24:16):
have recommended the third says movies i've seen
you know over 30 times and the next panel is
him kicking the third door open right yeah you know and i'm thinking like got
a new piece of gear and it's really frustrating you know what i'm just gonna
i'm gonna go back home to my regular piece of gear and and and do what i know
but there is this big there's this idea of challenging and and sticking with it and And,

(24:42):
and, and often you can get, you can get really cool results.
Hold on. Opie, you cannot.
Sorry. My cat is walking on my papers here and, and he's being a pain.
I've invited him in so that he doesn't scream. Yeah. Well, I would say to what
you had just said, I'm thankful, lucky that I have time.
I have 10 days. So there's some things that I haven't done.

(25:04):
So, I mean, what was this day six or day seven day, whatever.
And it's, it's 10 days. So.
So I will do the stuff that's easiest to do early on in the week to get my kind
of vision up and my abilities kind of up.
And then I'll do the harder stuff later on in the week.
So I won't feel bad about or have any misgivings about leaving behind what I've

(25:29):
been doing during the week that I've had some success at.
So the two things I'm going to be doing shooting at night, which will be probably
tomorrow night and or Saturday night. and then shooting with a 16,
which is on third body because I have three bodies with me.
And so the night and the 16 go well together.

(25:49):
That's a, we're working at what, a 24? 24, yeah.
That's really, that's honestly a challenge. You generally shoot with that?
No, not generally. Just I wait. It's the hardest to do.
So I wait till later in the week. So I did have some success with it,
shooting the facades on the carnival, on the rides and on the vendors,

(26:13):
like the food vendors and so on, the way their signs are lit up.
It's just very basic static subjects.
So I was happy with that last year, and I didn't really pursue it much further.
This year, it's sort of I'm going to try and make it a little bit more interesting
and include more people and do something a little more dynamic.

(26:34):
What exactly it's going to look like, we'll have to discover.
But it'll be less streety, like the pictures will be less street and more like
environmental kind of travel kind of thing.
Do you have at any point you're going to do something with all these pictures
other than just put them on Instagram I mean.
At this point, you've been doing it so long. Yeah, I mean.

(26:57):
And you're probably going to keep doing it. I'm going to probably keep doing
it. Yeah, I mean, the point is that because it's such a long-running thing,
I'm sure I will do something with it, with them.
I can, I had Gary Winogrand on the brain. I don't know why.
But anyways, I have started, and we're talking about biases when I'm taking
pictures. And one of the things is getting pictures when they're sitting in a row, like on a bench.

(27:19):
And I've got probably 12 of those already. Right, he had people lined up on
a bench with their, and what I'm most appealing, and we're getting into composition,
but what appeals to me the most is the directions their feet are pointed.
Each person has a different way they point their feet or the way their feet
rest on the pavement, right?
That's interesting. Yeah, if you look at it, if you look at the Winogrand picture,

(27:41):
that's the World's Fair in 1964, 64, that picture of his,
where that's the most, the most splendid example of how everyone's legs are
configured. It's all different.
And so, so it's the same, it's, it's the same when I take these groups of people.
I mean, I'm not, I want to make sure that their faces are in focus,

(28:02):
which is great, but it's like she's sitting in her feet are together and they're
pointing this way and the guy's sitting here and his heels are together and that's weird.
And then the kid sitting here and he's got, you know, his, his,
you know, he's rolled over on his ankles on opposites. And it's like, it's all crazy.
And so that is something I would have never noticed. I mean, well, yeah,

(28:23):
But anyway, it's just a little bit of, you know, whatever you want to call it,
a little bit of joy I get out of shooting those kinds of compositions.
You know, like their personalities are represented in how they put their feet on the ground.
It's true. It's sort of like where they are in that state. Well,
this person is clearly bored.

(28:44):
This person is, you know, feet are flat and pointed straight ahead.
They're a little bit more goal-oriented or they want to get out of there or whatever it is.
It's just it's just a fun it's just a fun detail
and it's a thing that you can
observe in life that doesn't have a lot of high stakes you
know you're just creating these things discovering them and then when they're

(29:05):
revealed in the images they give you a little kick so so anyway so i mean i
could in terms of a personal project i could just do and i think i'd i'd on
someone had made a comment on i think it was facebook and i said i got enough
bench pictures i mean through Through my whole,
you know, last few years,
I could maybe do a little book or a zine just on people sitting on benches.

(29:28):
So what are you waiting for? I don't know. Maybe I should do it.
Just call it Bench and then, you know, have it. That's a great idea.
So I'll do that. Actually, all right. Not to take, not to, but I've done a lot
of that on Ocean Parkway too.
Oh, I have a picture of two ladies with a dog on Ocean Parkway.
Yeah. that's kind of how it got started with going into full

(29:51):
street photography mode was starting
walking down ocean walking up and down ocean parkway
photographing people sitting on benches in
fact i got a shot which i haven't processed yet from this morning because i'm
coming home from coffee and like there's two people as a hasidic couple on the
benches and i was like oh they're they have character yeah but i didn't have

(30:16):
my camera with me i just used my phone and And I actually like those kind of
pictures. So, yeah. All right.
So, yeah, so the, this project is going to go on. I'll probably work right through
till Sunday and I'm posting, you know, most of the hits up on Instagram.
I don't mind sharing them. I'm not, I'm not, it's part of my process right now

(30:36):
to share pretty much everything that's, that works out.
I'm not a hoarder that way. I know there's some, some photographers that want
to keep all the best to themselves so they can, you know, think about and rethink
their processing. So I don't mind rethinking my processing in public.
I don't care. I'm not precious about that.

(30:57):
And if a book comes out of it or a zine, maybe a zine, I could bang one together
probably sooner than later.
Sounds like zine material to me. Yeah.
I'll do it. All right. I think I'll do it. Anyway, it's fun getting lots of
exercise. Things are good.
Can we segue into, like, there's a dovetail into kind of what I want to talk about.

(31:19):
Well, what I was going to say, and this is my hackneyed segue now,
is what I really loved about doing the Stampede Heads project is I like everything about the process.
Not just shooting, but also the doing of it, of the walking around and seeing,
visualizing, shooting, getting home, uploading the pictures.

(31:42):
And as soon as I can, as soon as the upload is finished in the layroom,
I am in there editing. Okay.
Music.
Relationship to that i mean i didn't think i'd have anything to talk about today but after having,

(32:05):
a bit of a chat with my friend this morning gino and he was talking he was just
relaying an experience he was having having gone to a sort of a hired shoot in new mexico,
tagging along with a with another class hold on opie you cannot play with that,

(32:26):
it's not he's like going after
my headphones you can't play with that buddy so you
know him being you know
a seasoned professional you know experienced photographer and then being with
other you know students who are who are photographing a subject and as he was

(32:48):
describing it okay he's gonna leave sorry as he was describing it i was thinking
how the difference between,
I want to say professionals.
It's not professional because it's not about making money, but someone who's
seasoned as a photographer and someone who's not seasoned, who's just getting into photography.
I'm around a lot of those people often because of the classes I teach.

(33:09):
So I get to, you know, and so is he. He teaches a lot as well.
So we're amongst the people who are learning for the first time. Anyway, this idea that.
A photographer, someone in experience can be at an event or a situation and
both simultaneously experience the event and document it.

(33:35):
And, oh, so what popped in my mind was I'm filming the concerts in Brooklyn
during the summer every once in a while.
It's called Celebrate Brooklyn and it's a Manning, one of three cameras, right?
And so I'm in a kind of a center camera position. musician
and it's a concert right and so one would

(33:55):
think that you know my friend he
asked me like you know you'll enjoy the concerts and it made me think
about like like yeah you know actually i can enjoy the concerts and
film them simultaneously maybe not at the the highest level of enjoyment because
i have a job to do right so i have to record and have to listen to the director
and blah blah but i can listen to the music and i can see the fun and i can

(34:21):
And so I tuck some of that away.
And then also when I was filming, obviously I'm talking about video right now,
but when I was filming a live television show also for brick and they would
have people talking and maybe it was a really interesting discussion.
I could listen to that discussion simultaneously with filming it,
right. Listening to the director and stuff like that.

(34:42):
And so, you know, one's kind of muscle memory in a way I think,
and the other is, you know, a different part of my brain is,
is in there like listening. So anyway, we came up, I was thinking about this
idea of like, as a experienced photographer, let's, let's just talk about photography.
You can be doing something like in your case, the stampede walking around and
enjoying the event of it and also recording it in the way that you're recording it.

(35:09):
Whereas someone who's not as experienced, who hasn't spent much time is going
to experience the entire event through their camera.
All right. Now, does that make any sense? Like...
Or struggling to use the camera while they're in the event. Maybe not struggling to use it.
You know, I would, you know, if, if you're struggling to use it,
then it's like, I think all bets are off.

(35:30):
Then the whole experience is a frustration because you're not experiencing the
event or the, whatever you're trying to photograph and you're fighting,
like understanding why your camera's doing certain things.
So you're, you're kind of, you're out of the whole situation.
Right now, as I'm saying this to you, the, a thing that just popped in my mind
was when I was doing stock photography and this is obviously a while ago and

(35:54):
I went, it was one time I went, well, I went to a lot of places,
but I remember when I went to Germany and I was photographing,
I think it was in Heidelberg and there's this, I'm hoping that's the right city.
There's this bridge there, this really old bridge.
And I was, I was photographing on one side of it. And then when I got home eventually,

(36:14):
you know, I'm looking at the pictures and I'm looking at, and I've talked about,
but we've talked about this before.
Like my memory of the experience was that photograph.
Cause I was looking through the, the lens and, and I'm thinking about that now
is I'm not a very seasoned travel photographer.
So I'm also overwhelmed by the, by the, the newness of this place.

(36:36):
I've never been to Germany. I've never seen something like this before.
I'm going to look through the camera.
So my experience was narrowed down to looking at through the viewfinder, right?
I not all the time i'm not going to say like i didn't have
a good time or something like that but when i was shooting i was not paying attention
to the to the history now i'm i'm
sure i'm not sure like if i went

(36:58):
to some place new i probably have that same experience but like like even
for what you're talking about you're going to this place for 10 days even if
you were going to this for the first time that first few days you'd get
it wow out of your system yeah and then
and then you would be like okay now i know what i have to do right
and then you you would settle into that flow state i don't know if that's the
right word to call it or something yeah so i'm i'm thinking about what that

(37:22):
first of all i don't know there's a name for it and flow state is kind of generic
i wouldn't want to say that and is i'm sure you're posing a question and we can hash this out a.
You know being experiencing the a
world through the lens only or then

(37:45):
eventually you know being able to
experience the both at the same time
it might making sense so you
know think about this yeah it's it's the
act of seeing and practice seeing in the photographic context
so if i go back to the sports
photography i've done helps to understand the

(38:06):
sport that you're shooting and so you
learn to anticipate what's going on that's one
thing right so you prepare yourself that's
the practical part of it and you you but
the practical part and and when i'm shooting street i know i have an idea i
don't know i have an idea what compositions work very quickly in in any given

(38:30):
moment like the picture that i want to take i'll say oh they're lined up the
right way i think I'll get this. I'll shoot this.
And I'm, I'm both have confidence enough to want to take the picture,
but reserve a little bit of humility for the possibility that it may not work.

(38:51):
I won't be tripping over the fact that, oh, this is just going to suck what I'm doing. Right.
Right. I'm going to interrupt you. Okay. Because when you came to New York.
Yeah. It was a brand new experience for you. Yeah. Yeah.
Like you've never been there. And, and we talked about this before on the show
and the one walk we took and I'm pointing out places.

(39:12):
Yeah. Oh, this is where I was. Yeah. And there's a part of you like saying, shut the front door.
I want to take pictures. what I get what you're talking about but you're sort
of skipping the part about like,
being in tune with like okay you're you're unless you're unless I interrupted
before you got to it you're talking about taking the pictures I'm talking about

(39:35):
like you're doing this thing that you know how to do and can you.
Experience like could you walk down the street with me
take pictures and then also pay attention
to like oh this is this is an important location this
is this is interesting him like it's a two mindset like when i thought you were

(39:55):
in new york you were doing kind of the same thing and i was doing when i was
in germany i was like i i you're well maybe not well but the way you're describing
is like you're talking about it like well go ahead no i was gonna get there
and it was like Like for me,
get the practical part out of the way so you don't have to worry about it and
you can move your energy up into the seeing part.

(40:18):
And then the camera, the shooting part, you're less worried about that.
But you had to graduate to that. You didn't just drop into the space.
No, that's true. With both.
I guess what I'm trying to say is that, yes, certainly not that day.
That day was and i'm not you know

(40:39):
it doesn't bother me like that no no i just bring it
up as it's a good example i think it's a good example of
this yeah i mean if you're going to someplace for enough time yeah
you you get that sort of transition i don't know if someone who's a beginner
or someone who's just like you know maybe someone who's not as experienced and
i don't know i'm trying to come up with the perfect phrase but i can't it was

(41:03):
just getting behind the camera for
the first time and say they know their equipment, but like,
like I said, we'll experience whatever they are through the lens and not simultaneously
through the lens and through their own body or through their own experience.
So, you know, if you were dropped in New York for one day.
Yeah. You'd probably be on the, be quiet, I want to take pictures.

(41:28):
Yeah, but that. Maybe? Yeah, but maybe that's a part of my neurodiversity, though, too, right?
I mean, I know my wife, she could do three things at the same time.
She can quilt and barely look or knit and barely look at what she's doing, watch TV.
That's interesting. And talk about what we're going to have for dinner at the
same time. I cannot do that.

(41:50):
I see. I see. I mean, I don't know. we're taking
it off the rails that's interesting but i mean that's some
people have an easier time of it than others i just
like my experience of we use
the stampede as an example my experience there is
to is or my intention is to
get into a flow state so i can create these images

(42:12):
at the back end and i put aside a lot of any other things personal comfort whatever
it is it got very warm this year there's the there's a whole bunch of different
shades here so yeah maybe that's not maybe that's not a good example of it though
yeah you've been going to the same place for years,
you know again using the example that i was talking with gino this morning it

(42:36):
was is you know a group of students who are going to see something for the first
time and then he was there and i think it was what he was describing it was
another instructor hired a bunch of he He lives in New Mexico.
So it was for the Santa Fe workshops and another instructor hired some low riders
for a photo shoot and brought the students with an, and Gino went with them

(42:59):
and, and he approached the situation a lot differently.
He was able to sort of step back, you know, he'd, as far as I could tell,
he'd never photographed like this.
I mean, he's done some porch, he's done porches before, but he's mostly a landscape
photographer. So this is unlike his usual style.
And, and, you know, he was able to watch the students photograph.
And, and the way he was describing it, I was picturing, you know,

(43:20):
this was sort of the exaggerated idea in my mind, but like people were just
walking around with their cameras to their eyes and, and, and photographing
what was there, you know, and,
and he was adjusting and moving around and maybe positioning people and getting them to post.
Like, you know, there was all this stuff going on and that's what gave me the,
like, he was kind of looking at it almost like a 10,000 foot level and then

(43:43):
being able to drop down when he needed to.
Right. And the students, and they're students, fine. I mean, it's not a criticism.
But it's such a narrow focus or something.
The understanding of what the potentials are of exercising creativity in a new context.

(44:06):
Right, right. And you can mark it down to someone who needs to,
you know, this is the first time they're doing this. So of course there's going to be this experience.
And so is it a matter of time? Like do this enough times, but yeah.
If you've been doing this time as a photographer, you can be dropped into almost any situation.
And again, I'm painting photographers with a broad brush or experienced photographers,

(44:29):
but you can, you know, a photographer who's been photographing for years can,
could use a Diana camera.
It could be dropped in on a wedding and probably shoot a pretty good,
you know what I mean? Like there's all this kind of stuff that we can do.
And I mean, obviously I'm the way I'm describing it. It's like,
yeah, well it is an experience thing. The more things that you do,
the more likely you're going to be able to drop into this.

(44:50):
And you know how do you how
can you move well i'm not
sure i'm posing the right questions i'm not sure where to go with this it's just
it's something tangible that that that
i can see happening and i just don't think it's only about experience no like
okay so like you see these these students these people that are new to it what

(45:15):
do they what are the observations they impart part to you when they're shooting
what is what are they struggling with or what are they telling you,
like maybe that'll give us some kind of idea oh that's a good question that's a good question.
What do they struggle with i mean usually it's it's it's going out the really

(45:36):
only time i do photography like that is when i did my street photography class
yeah and actually i do when they come back, I asked them what their challenges were.
You know, I was like, you went out for a half an hour. What kind of challenges do you come across?
And I was going to speak generically. A lot of the challenges are not,
shoot, how do I describe it?

(45:57):
It does feel very micro.
Okay. Yeah. Like micro focused on something.
And I'm not sure if this is making sense. You might have to coax me a little bit in this. Coach me.
Well, Well, I think what I'm wondering is some, I've heard the expression that
when you're going on shooting street, especially everything's so familiar to

(46:19):
you that you feel like you're trying to make something out of nothing.
That's one thing that I can imagine myself feeling being new.
Like, what is it? We're just walking down the street. It's the same stupid cars
and people. Like I see this every day. Every day. How could it be interesting?
How can it be different? How can, yeah.
That's one thing. That, that definitely comes up. on occasion and one of the

(46:43):
things i do to to before i send them out is to try to get them,
to look i always describe the vase right the vase you can either see the two
faces or you can see the vase i'm like i want you to see the two faces right i want you to see the,
other way around because like once you start crossing that.
Once you cross that threshold, the world, it's like the world looks different.

(47:07):
It's like you've taken the, what is it? You've taken the red pill. Yeah.
Yeah. I mean, that's an extreme. It's not like. No, no, but it's a metaphor.
But it's kind of like that. Yeah.
Yeah. Yeah. It is kind of like that. You've crossed over in some way.
And like, how can you do that in one day?
Well, not very easy. No. Not very easy to do.
So when I talk about their challenges being micro, like there's,
they're often focused on some small detail

(47:30):
without getting into any kind of craziness
about it but like like rather than like the overall like what
was the overall issues that you were having they'll they'll
automatically come back to me and say i couldn't get
the camera to focus i didn't know how to use this but like that
person like the the bicyclist was
all the way over there you know like these little things like

(47:52):
that is that making sense yeah it is and it's part of now
it's kind of a holistic thing where you shot
this picture that was you thought was going to be great and it didn't work out
and then you look at you start looking at your pictures that didn't work out
as missed opportunities and that that starts to pile up on you from a creative
point of view like even if you're shooting and like oh i missed this i missed

(48:15):
this i missed this it there tends to be negative.
You get this negative feedback loop going and it's not really the point street
photographer sort of is definitely by its nature low hit rate so that's that's in street but.
I'm trying to think you don't want to go shoot speed skating or
something that really kind of unfamiliar with the the

(48:39):
struggle is is understanding the sport knowing where the athletes are going
to be anticipating and i go back to that it's just what is it that i should
be looking for there's not a sense of what it is i should be looking for when i'm shooting,
and you feel like you're disconnected yeah so

(49:00):
even like with street photography is you understand street photography so no
matter where you are you can you can do it you can
sort of drop in yeah me yeah i
mean when i went to mexico it was i was
caught in the awe of the old architecture and the
way it's lit and how beautiful the people were and all
of that kind of stuff like you know like your

(49:20):
day trip to to times square you know what
there's all this stuff going on and it's
to calm down and you know you use what
you have to create it i don't know i didn't really finish
that thought but oh i'm sorry i didn't mean to no no no it wasn't that it wasn't
that it was not a fully formed thought anyway it was it was just a kind of way
of you know what is it that doesn't derail you can't derail something that's

(49:45):
not there you know where do you begin in when you're new to something creative like that.
One of the things I, I disclaim in the class, this is my, again,
my only, my street photographer. I said like, you're going to go out for.
A half an hour, 40 minutes, whatever the time allows. And I said,
you are not going to take a good picture.

(50:05):
Yeah. And, and, you know, like, you know, I get all these long faces,
you know, and I was like, don't worry about it.
Like, this is not, you know, this is not a race, you know, you're going to go
out there and you're going to, you're going to see stuff and you're going to
try to get it and you're not going to take a group.
You might take a good picture. It's possible, but the chances of you getting
a good picture in a half an hour after taking 20 you know, hour and a half class

(50:27):
with me is pretty impossible.
So that's kind of interesting when you say like the, you know,
one of the things I probably should say to them is that, you know,
street photography is a low hit rate.
You know, it's one of the things I didn't, I've never really kind of expressed
to them because I think they, I think that's, I think that's part of the.
Frustration that I see is they're going to spend time in a class,
even if it's a three hour one off class and like that, they're going to, you know, someone's

(50:49):
going to spend time talking to them they got this equipment therefore they should
be able to grab a good shot and be able to experience that and they don't they
don't have they don't have a good experience and again i'm again broad brushing
here but yeah they don't have a good experience they don't come out with good
photographs and and it's not a relaxing experience and again this is just a matter of.

(51:12):
Experience and doing it over and over again but maybe even not i mean i don't know what would
make this easier for them to do
but and also you know one of the things i end up
my in my class with is like have fun right it's
a picture of me taking a photograph out of a car window it's
taking a picture of me through the rearview mirror i don't know why i used that

(51:32):
picture but it just feels like like it was like a fun experience like for like
looking out the window photographing all the world but every now and then taking
a fun picture of myself right Right. That was kind of my idea.
Right. So the idea is like, have fun. And to me, having fun is being able to
listen to the concert while I'm filming it.

(51:53):
Right. Like it's not, you know, it can be a job.
Sure. I can get very tense about it and I can switch my brain off and on to
deal with the situation.
Yeah. I got a static shot here, so I don't have to move. I can listen to the
music and enjoy it and whatever. Right.
And so how to get the people to do that.
I don't know if it's just experience you you were just mentioning

(52:16):
before that you're not able to think three things at once like i couldn't be
an air traffic controller i can't deal with things also multiple you know things
going on and i don't think it's a requirement to be a photographer at all i
don't think you need to have this to brain state or whatever i'm going to call it in order to do that.

(52:37):
Again, it's this thing of, of, as a photographer is beginning to get into something,
or even if you're just like I said, maybe in the case of like visiting someplace
for the first time or going someplace for the first time and not being able to forgive themselves,
like understanding, maybe that's it.
Like understanding, oh yeah, I can't do this yet.
Like I can't separate my experience from the act of photography.

(53:03):
Like I've got to do one or the other and maybe them I'm thinking I should be able to do both.
I should be able to have a good time. I should be able to understand this. So I don't know.
Well, no, it's interesting. Well, again, I think it goes to the familiarity
with what it is you're doing.
And the more, the more you do, I mean, the more you do it, the more confident and so on.
And that helps with your, I mean, street photography, I really think is,

(53:27):
you have to really want to, oh, for me anyway, you would have to enjoy the act of doing it.
You're yet to see people you get you know it's
the ultimate staring you know the ultimate people watching thing
right yeah you get really end up like a barry winogrand who photographs more

(53:49):
than you know looks at no i'm not saying that i mean that's that's what he's
i'm not so i'm just trying to think of my hit rate so how many i would shoot
my first first stampede here so i typically Typically,
let's just say ballpark.
I'll shoot about 400 frames a day.
I'll probably get four images that are worth putting on Instagram.

(54:11):
That's pretty good. It's pretty good for that, I think.
And you come back fulfilled, though. Oh, absolutely.
I come back fulfilled even if I, well, no. I would feel bad if I couldn't read
the memory stick when I got home.
Well, forgetting the technical issue. But what do you mean? It's like you've
had a good experience altogether.

(54:33):
Yeah. It's not just the photography part. I had hope, right?
I'm like, oh, that young couple that were, you know, doing whatever.
Like, I got that. I think I got that.
You can see I'm trying to get you to talk about the experience of being there,
though. Yeah. Not just the photography part.
Maybe you're resisting. No, I don't know.
I'm just not thinking in that way. The act of being there, I do love.

(54:56):
Well, you like being there. Oh, yeah.
So there's some part of that that's drawn to you. Anyway, I guess I'm trying
to get you to get into the two-mind thing.
That's why maybe the Stampede is not a good example, because you've been going there for so long.
And you know it, you know, and I think anybody who was doing what you're doing
would, would perhaps have the same results, but yeah. Yeah, that's true.

(55:21):
Just, you know, I'm just trying to think, well, let's, okay.
If we take, if we're still talking about me, which I like to do, let's see.
I think of another project. Last summer when I was taking pictures of those
women, the women project,
which is, that was really cool because I'm in the presence of these people that

(55:44):
I love. And so there's that.
And there's the sharing their presence and photographing them by the way.
Right. You know, that was very loose. It was not me and not my pointed...
Strong observations of trying to get something out of the situation it's like
yeah oh she's sitting down over here i'll just get up and take this picture

(56:07):
and continue the conversation.
That was that has a better example about photography yeah
that's very that's very fulfilling in terms of that in a lot of ways sorry to
interrupt but this is what i think good documentary photographers can do right
is is they're not just a fly on the wall right like if they're doing you know

(56:30):
some sort of long story i'm thinking like,
eugene smith with the country doctor shot that's
such a good series yeah i can't imagine that he was
just a fly on the wall like somehow he's in there
or mini mata where he's actually part of the story yeah itself
right and and so he's able to come
at it from being involved in some

(56:52):
way which you know whatever and and
and knowing like knowing what you're going
after and creating the photography so you're talking about almost the
exact same thing yeah and the different contexts too
right one's a woman i've known for 40 years one is a woman who my aunt who that
was my last visit with her before she passed and then my mother who's in her

(57:15):
80s and all the all the feelings that go along with hanging around your mom
you know right so that was That was a good weekend.
That was a good, you know, that was a good experience. And really,
my memories of that are not the photographs. It's the being with them.
Right, right. And, but that will...
Is that definitely comes out in your photographs too, right? Yeah.

(57:38):
Like you're, you're, you're, the merging of the art and the experience is certainly
coming out, comes out with photographs that you produce from that.
You can, you can feel it. Yeah.
Whereas someone who's doing say that for the first time, you can sense in the
pictures that there's not a, there's not a connection.

(58:00):
Right. There's, I'm just doing this task. task right for something like that
so that's actually a much better we should have gone more on that example but
i think that's a good and that's a good way to start making notes
we gotta start making notes but this is fine because we're we're actually doing
a trying to do a quicker show tonight because you gotta get out i gotta eat
dinner and uh i i'd like to table this like for maybe talking with someone else

(58:27):
about it be great to bring in a third person on this,
maybe even Gino, get him to talk about this as well.
And we'll talk to him about getting him on the show and talking a bunch of stuff.
And I'm really curious about this student experience too.
Like when I was asking you, you know, cause I'm not really that much of an instructor.
I really like to see, you know, in all of his time teaching at the Santa Fe

(58:51):
workshops, what he's seen and what, what students grapple with.
That's fascinating to me. He'd love to be on the show.
Yeah. I'll work on it. I'll find a time where we can get to talk to him.
Sure. That'd be great. I think, looking at our clock, you want to get out and
shoot, and I want to eat dinner. And so...
Where are we looking for you in the world? Sure.

(59:15):
You can find me on Vero and X at WRosinPhoto.
I'm on Instagram at WardRosinFineArt.
Facebook, you can find me at WardRosinPhoto. I have my website,
which is rosin.ca. That's R-O-S-I-N dot C-A.
And our unofficial sponsor is Ornis Photo. Unofficial sponsor.

(59:36):
Yes. Ornis. Ornis.photo, where I sell.
What do I sell? I sell 7 Artisans lenses and lens adapters for Fuji X and Sony E-mount.
All kinds of different things. Those 7 Artisans people are coming up with a
whole bunch of stuff these days. There's a lot of new.
I know you're not covering all that stuff, but I've been seeing a lot of new

(01:00:00):
lenses popping up on YouTube with these either TT Artisans or 7 Artisans.
I don't know why they have two different names, different companies,
and they have the same name. but perhaps some more names.
Yeah. Yeah. How do we make, how do we make, how do we make you guys our official sponsor again?
I don't know. What did we say? I don't know. We'll figure that out.

(01:00:21):
Anybody got any ideas about how to make Orna's photo the official sponsor?
I have to give you money, I think, is how we make it.
Oh, well, you are, but you're getting your time. Maybe you aren't.
Well, I still like the unofficial sponsor. Yeah, it's a nice running joke. It's good. Yeah.
What about you, my friend? Where can we find you and the internets?
You can find me sitting on my computer, on my butt here.

(01:00:42):
Mostly on, where am I these days? You know, Vero.
And Flickr is at AM Rosario. Instagram is at AM Rosario photo.
My other site with my other AM Rosario and Instagram was hacked.
You can see my photographs. There's just don't follow me there.
Yeah. My website is am Rosario.com and go to Facebook. I've been posting a lot of stuff on Facebook.

(01:01:06):
I know it's old people's territory, but you know, so what? Facebook.com Rosario photo.
And why don't you subscribe to our sub stack newsletter? I know I said I was
going to put out a newsletter last time.
I didn't. I got, I'm about to get one up, the coming out. It's going to be coming from Ward actually.
So subscribe to our, subscribe to our streetshots.substack.com.

(01:01:31):
And yeah, leave us a voicemail at speakpipe.com slash streetshots.
And if you want to support the channel, channel, I'm not, this is not YouTube.
If you want to support this show buy us
a coffee at buymeacoffee.com slash antonio rosario
and yeah i've got some uh yeah i realized i do wanted to put out a newsletter

(01:01:53):
i haven't i just want to take your article that we were talking about put it
out there i'll get that done uh but yeah we've been getting some sub stack people
and i've got some ideas for some stuff i want to write so yeah,
great but other than that you know we're in the middle of the sweat july you
want to get out and go to your Rodeo street shop and stuff.

(01:02:16):
And I got to eat something soon before I get crazy.
Okay. So thanks for joining me tonight. I really appreciate it.
Always a pleasure, my friend.
Yeah. And everybody else, look forward to talking to you by the end of July.
So have a good next couple of weeks and good evening to you all.

(01:02:37):
Music.
Make rhubarb crisp oh my god
it was so good with ice cream and this is
all with oysters somewhere oh no there were oysters on the charcuterie board
first because you need that oh i love oysters you know how to shuck them uh

(01:03:01):
i have done it um but i i could use some practice i don't we're completely
landlocked here so there isn't much opportunity to see it or eat them fresh
so yeah you know you get them out of the can with the cottonseed oil and you do your best,
hey it's the oysters unless you cook them unless you fry them like deep fry

(01:03:23):
the oysters i i could never eat those things until elizabeth taught me how to
and then from now on i was like Like I am oyster king.
Yeah. I mean, there's, I know you don't eat that many.
It's like one of a bunch of other options. Most of the time I'm putting on my,
you know, an inoffensive cheese.
I could throw in a dozen of them. No, I'm saying fresh oysters. Yes.

(01:03:47):
I'm talking those little, those little boogers that come in the flat tin.
You know, they, they, you put them on a piece of cheese and you douse it with
hot sauce and you hope, right?
Music.