September 28, 2025 • 63 mins
Cindy and Alison sit down to talk about how photography can really help an investigation. Well lets say film photography can add a lot more added help not that digital can't especially since photography is Alisons day job. Come join them as they talk about the pros, and cons of film photography. Tune in how even digital photography can help if your out on an investigation. So grab your favorite camera then head to your favorite spooky spot and start taking some photos.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:04):
Welcome to Spooky, a paranormal podcast, joined doctor Cindy Little
and Alison Robles as they journey through the realms of
the supernatural, mysterious, and downright eerie, from ghostly apparitions to poltergeists,
from haunted houses to strange phenomena. Prepare to have your
senses heightened and your beliefs challenged. It's time to grab
(00:26):
your headphones, dim the lights, embrace yourself for a journey
into the unknown.
Speaker 2 (00:32):
If you dare. All right, welcome to another episode of
a Spooky Paranormal podcast where your host Cindy Little Anne. Yeah,
so today we are going to be talking about spirit photography.
And Alison is a local photographer and she's absolutely extraordinary.
(01:00):
So I you know, as I was thinking about this
and preparing for this, spirit photography's been around for a
really long time, and I'm going to be handing a
lot of this off to Allison because she's really the
photographic expert here and when we talk about photographing ghosts
(01:21):
and things. So so yeah, I'm just going to open up,
if you don't mind, with like kind of a history
of it, yeah, and then we'll go from there. But yeah,
this has been around for a really long time, and
it really kind of started when, of course cameras started,
you know, coming on the scene back in the eighteen hundreds,
(01:42):
and there was a guy, William H. Mummler who's credited
with taking the first quote unquote spirit photograph, and while
he was developing a self portrait, he claimed to see
a faint extra figure like a peer aside him, so
it looked like there was a ghost in the picture
(02:03):
with him. Well, whether or not that's true, he decided
that hey, you know what, I can like really make
some money doing this, and he starts offering these portraits
where deceased loved ones can appear in photographs with you,
(02:25):
and including Mary Todd Lincoln. She was like really big
into seances at the White House, and yeah, Abraham Lincoln's
ghost still, I guess, haunts the White House, which is
really kind of interesting. So of course she goes to
him and says, oh, hey, I would like this spirit
(02:45):
photographer to take my picture, and of course, what do
you know, he takes this picture of her and there
is Abraham Lincoln standing right behind her, the ghost of
Abraham Lincoln standing right behind her, and of course she's
just like wow, yeah, this is wow, that's amazing, and
(03:07):
she believes it's true, and that kind of kicked things off.
It was also during the spiritualism movement, and so that's
where people it was like right after the Civil War,
and everybody was wanting to have contact with, you know,
people that had died that like their deceased loved ones.
(03:27):
So this just like really played into it big time.
And Mamla really took advantage of this. And of course
then I'm like, well, you know, how did he do it?
You know, I don't know much about early photography. I
don't know much about current photography either. I just like
(03:48):
point my phone at things. But I did a little
research on that as well. And from what I understand,
they had like glass plates. I don't know if you
know anything about this or not.
Speaker 3 (04:03):
I know, very minimal, and I mean I have cameras
that are from as early as the nineteen thirties. Wow,
I just I mean obviously all of them are just
the whole what we learned in science refraction and reflection
(04:23):
and that's all I know.
Speaker 2 (04:24):
And I'm like, yeah, yeah, well, you know, you know
more than I knew. I mean, I had to like
look this stuff up but basically what they did because
they were like on these from what I understand, they
were on these glass plates. So it was like that's
what the negative was, was this glass plate. Well, of
course you could do all kinds of manipulating with this
(04:45):
glass plate. You could use a plate that had already
been developed or exposed and reuse it and make it
look like there's like an apparition superimposed on it. You
could have a dirty plate that looked kind of smudgie
that's already you know, that could come up as a
ghost in the in the exposure. And of course, because
(05:07):
it took such a long time, they'd have to like
leave the aperture open for such a long time to
get the shot. They would like I loved this. They
would like have a guy with a literal white sheet.
I love look on Allison's face right now, a literal
white sheet over him, and he would just like jump
(05:31):
in in front of the the aperture opening and then
like jump out. Because you know, it took so long
for the exposure to happen that when it was all done,
it looked like there was like this translucent, you know,
ghostly figure. It's ridiculous. It was absolutely ridiculous. And if
(05:51):
you look, it's so funny because the technology was new
and everybody's like, ooh, it's it's magical voodoo. But they
didn't have an understanding some of those early photographs of
like seances and ghosts and things. It's like, I love
the mediums because they'll like have pictures of mediums and
I might put some of these on the socials where
(06:13):
they've got literal like cotton coming out of their noses
and they're like, oh, it's ghostly echo ectoplasm. Oh there's
a spirit.
Speaker 3 (06:21):
In the room. World.
Speaker 2 (06:22):
There will be like a little cut out of a
person's face and they'll like paste it up above their
head and stuff. But people, it's ridiculous.
Speaker 3 (06:34):
Reasons why photography has a reputation it does and why
people say you can never make money off of it
because it's stuff like that.
Speaker 2 (06:47):
I know. I just thought it was so interesting. It
was like the new technology of the day, and everybody's
just like kind of wow, they're not questioning it at all.
Last I can't but blast five. No, you need to
you need to go with me. I think they're having
it again this fall. The historic Waco houses are I
(07:08):
think it's mccaullaugh House where they're opening up there. They
have like a big spooky event and they have like
you you sit down and they have a special camera
now where there's a ghost in the picture with you.
So that's it's fun. I mean it's obviously fake. But
and I think last year it was like a Civil
War ghost. I know how I feel about that. Why
(07:31):
I feel slightly disgraced.
Speaker 3 (07:36):
So for the like Ciddy said, I actually do photography,
so that goes slightly disgraceful.
Speaker 2 (07:42):
But okay, you've tarnished my profession.
Speaker 3 (07:47):
Okay, okay, Spooky Goes pictures.
Speaker 2 (07:50):
It's fun though, and so I loved my Spooky Goes.
It was like a big deal. Everybody. There's like a
line out the door, you know, just to sit down
and have a soul. You're standing behind you. You know,
he's like looking all ghostly.
Speaker 3 (08:03):
Yeah yeah, it hurts every fiber. Oh now, come on,
you know, just it's like my two favorite things, and
they're just like crossing them like however they.
Speaker 2 (08:20):
Want in an obnoxious way. Look, it's a ghost and
it's like one of those little cartoon ghosts. Yeah, yeah,
that's what That's what I'm saying.
Speaker 3 (08:28):
It's like, oh, no, goose, It's like it's a ghost
emoji guys.
Speaker 2 (08:34):
Okay, oh, now you know, but but yeah, it was,
it's it's it's good, it's it's a fundraiser, so you know,
for the historical So.
Speaker 3 (08:44):
I mean, I guess, get fine, fine, And there are
other ways to get ghost pictures?
Speaker 2 (08:55):
What Okay? Well, and yeah, we're going to be getting
into that now because fast forward to today. Yeah, so
spirit photography has been around since the eighteen hundreds because
of the new technology and people wanting contact with their
(09:18):
dead loved ones and longing for proof of the afterlife
and all that stuff. So with all that in mind,
miss Allison, do you think that we can actually capture
ghosts photographically? And if so, how can you tell the
difference between what might be a real ghost and somebody
(09:41):
trying to trick us?
Speaker 3 (09:44):
So there's so many different rabbit holes you can go down.
Speaker 2 (09:48):
Pick one. Let's go.
Speaker 3 (09:50):
So in the case of who is his name, mister
William Wright, mister Mummler, mister Mumler, Yeah, yes, William H. Mummuler, Yeah,
So he double exposure is very common, okay, So, which
we've kind of talked about it before in our little
(10:11):
ghost group chat that.
Speaker 2 (10:13):
You had a weird photograph. Yeah, all of us were stopped.
Speaker 3 (10:17):
So double exposure is if you're doing film photography something
that you have to be very careful of. I personally
do not like it. If you're wanting to do that effect,
then yeah, you know it's great because some people do
enjoy that. I personally, when it comes to my photography,
(10:38):
I don't like it unless I have a cheap role
of film and I'm like, oh, I have nothing better
to do with my life, let me just go practice
this method. This, you know, because it is a method.
It's an experimentation kind of thing, right, so when I
have nothing better to do, I'll go do it. I'm
(11:00):
not gonna just go do it and then just be like, yeah,
this is great and you can go if you If
those of you who have Instagram social media, you can
look it up TikTok Instagram double exposure and there are
tons of pictures comes up. It's so easy to once
(11:21):
you get good at it, to manipulate it. The only
thing is film is harder to manipulate it. So if
you mess up, you mess up and it comes out
very bad. And there's sometimes where yes, it's like, what
is it that you know? And it Yeah, but if
you're gonna capture a spirit on film photography, it's better
(11:46):
to not even do double exposure. Oh why again doing
it as a profession, I just don't do it right.
Speaker 2 (11:54):
But when you do.
Speaker 3 (11:57):
Those kinds of like if you're trying to get a ghost,
don't do the whole exposure under any circumstance. Okay, the
way they show up, it's more credible on film photography
because there's no way to manipulate the film strip because
even opening the little back of the door once it's
(12:19):
exposed to light, messes up the film, right, and it
messes up however much is out, So you could have
one picture accidentally open the door and it's fine.
Speaker 2 (12:28):
You used to have thirty pictures the barrel, Yeah, that
are in the barrel that are safe to use in
the dark.
Speaker 3 (12:36):
Yeah.
Speaker 2 (12:37):
So it's that's this. It's light sensitivity. Okay, that makes sense.
Speaker 3 (12:43):
So when imagine when you take a picture, even on
your phone, and you see all theo's like graphics where
it's like the camera shutter closes and opens, so it's
when it's open, so it closes to solidify that picture
and then.
Speaker 2 (12:58):
It opens back up, okay.
Speaker 3 (13:01):
So it's almost trapping that light in to expose it
to that frame and then opening up to release the light.
Speaker 2 (13:11):
Okay.
Speaker 3 (13:11):
It's kind of how like that photography.
Speaker 2 (13:14):
Works, Okay, okay.
Speaker 3 (13:16):
And then if you look at we're gonna go down
like dsl R and mirrorless, it's the same thing where
the mirrors flip up. It's almost flipping that light up
and trapping it in their first split second and releasing
it and then releasing the light. So it's it's all
light exposure. It's the what's being exposed to the camera,
(13:39):
because that's what I understand.
Speaker 2 (13:41):
Like I said, I don't know much of anything about photography,
but what I understand is, yeah, with film, it's okay,
it's light sensitive. And so yeah, the open the aperture opens, okay,
and the light comes in and then the aperture close
and then it captures the image and then the light
closes or the aperture closes, but then it opens again.
Speaker 3 (14:04):
So yeah, if you if you take like a lens,
which I probably should have brought one just to show you,
but if you have a lens, you can open and
close that and you can see the little lenses, the
blades on the inside open and close, right, So the aperture.
Speaker 2 (14:21):
Is almost the distance. Okay.
Speaker 3 (14:25):
That's what aperture is is how much distance is blurry
and how much will not be blurry.
Speaker 2 (14:32):
Okay, so that's like your depth of field. Okay, all right,
I'm following that.
Speaker 3 (14:37):
And then you're you have what they used to call
on film, it's as h we call it your ISO. Okay,
that's I mean, most people know what an ISOO is.
Speaker 2 (14:49):
I don't.
Speaker 3 (14:50):
It's like it's how much light you're bringing in so
night time, the bigger the number, the more the light
that's going.
Speaker 2 (14:59):
To be, like, because it's going to be darker outside
and you need yeah, you need more like comingho.
Speaker 3 (15:05):
Okay, if you have I have a roll of film
that it's thirty two hundred ISO, So you want that
on night shoots.
Speaker 2 (15:12):
Because it's dark. Okay, that makes sense.
Speaker 3 (15:15):
You want something like one hundred two hundred ISO like
the sunny day that we have right now here in Texas.
Speaker 2 (15:22):
You want that's what you want, otherwise it'll be all
watched out. Okay, all right, I'm following this. So back
to the double exposure. Can you do a double exposure
on a digital camera or is it just for film cameras?
And how does that work? How do you do a
digital exposure or I mean a digital a double exposure.
(15:44):
Nowadays it's just photoshop.
Speaker 3 (15:47):
You just take two different pictures, you put them in
photoshop or your favorite editing whatever, you know, image editing app,
and you just it's the opacity. You just go and say,
I want this picture to be slightly more transparent.
Speaker 2 (16:06):
Okay, all right, well that makes sense.
Speaker 3 (16:08):
You can also like easily just go over. I could
take a picture of you now, have a picture of
Jacob's ladder cut you out put you at Jacob slowder
on digital photography. And I've seen stuff like that online
a little bit. I don't play with it at all
because I don't understand it.
Speaker 2 (16:25):
But it's like, I know, there's like some there again,
I'm very much some of that magical voodoo.
Speaker 3 (16:30):
You know that.
Speaker 2 (16:31):
It's kind of like we can magically manipulate photos now
digitally in so many different ways.
Speaker 3 (16:37):
Digital photography is the easiest to manipulate. I mean, we
see it every We're so used to it. You look
at movies. Movies are cgi that's literally just digital manipulation
to make a movie. There's your double exposure right there.
Oh okay, something like movies. Okay, I mean Titanic. A
(17:00):
lot of that movie is filmed in a swimming pool.
Speaker 2 (17:03):
Yeah yeah, you would never know that, and you would
never know I had no idea. Wow.
Speaker 3 (17:09):
So I mean we're so it's so normalized for digital photography,
all of the Marvel movies. Yeah, I mean, how many
times has New York been demolished?
Speaker 2 (17:22):
And what if they don't rebuild it really fast?
Speaker 3 (17:27):
That's all dope, It's pretty much that's all double exposure
for the most part.
Speaker 2 (17:31):
We're just so used to it. So how do you
do if you wanted to do a double exposure on film?
What do you do? Do you just like open up
the camera twice or something.
Speaker 3 (17:42):
So there's different ways to do it.
Speaker 2 (17:46):
You can, you know, how you see when you see them.
Speaker 3 (17:50):
You see people like rewinding that not so that's the
almost like a rewind. It's a manual rewind. Okay, So
essentially you take the picture. You can take the full
thirty six at one time.
Speaker 2 (18:04):
Okay.
Speaker 3 (18:06):
I've seen some people go in with sharpie, they set
it up and they mark out like, hey, this is
where it needs to be for the second exposure set okay,
and then they rewind it pull it out because there's
a film more trivial thing. Essentially, it just goes into
the canister. M hm. It's like it looks like a
(18:27):
tongue and it almost like licks it out. Oh, it's
very gross, but yeah, it's a film triet thing and
it nice visual.
Speaker 2 (18:38):
Yeah.
Speaker 3 (18:38):
You put it in there and it looks like it's
looking and it licks it out.
Speaker 2 (18:41):
You look it out. Yeah, so it pulls it out.
Speaker 3 (18:45):
You can put it in your camera, put it to
where all that crossed out sharpie is, and then start
taking pictures again. So basically you reput that same canister.
Speaker 2 (18:57):
And you're just taking another picture over that negative that's
already been exposed. Okay, that's double exposure. Yeah.
Speaker 3 (19:05):
And then the other way is just taking it, rewinding
it one while it's still in the camera, rewind it
one and you can check on the little number and
then just.
Speaker 2 (19:17):
Start taking pictures again. Wow.
Speaker 3 (19:19):
So yeah, there are different ways to do it, but wow,
it also depends on the kind of camera.
Speaker 2 (19:25):
I'm not gonna let you really, yes, And that makes sense.
Speaker 3 (19:28):
Too, because you have large format film camera medium format,
and you also have thirty five millimeter.
Speaker 2 (19:36):
I had no idea about the large format and the
medium format I know about. I have a thirty five million.
Speaker 3 (19:41):
Yeah, so thirty five is the normal, and that's how
most people like prefer to use. Yeah, medium format. I
have two of those, and one of those is the
nineteen thirties camera that I have that is so cool,
and it's actually a lot easier to double exposure on that.
Speaker 2 (20:01):
Than it is a thirty five see, and that makes
me think that that older technology, it sounds like it
was pretty darn easy.
Speaker 3 (20:09):
It's so simplest. I've done it a few times on purpose
because I was I mean, I've used those. There's not
as many options when it comes to medium format film, okay,
So I just I was like, that's when one of
those days I got bored, I had nothing better to
do with my life, and I was like, whatever, let's go,
(20:30):
let's just go waste experiment. I was like, let's just
waste a you know, twelve dollars roll of film just
to go experiment.
Speaker 2 (20:38):
Film's expensive now because there's not a well, I mean,
it's not used very much anymore.
Speaker 3 (20:44):
Surprisingly it's making a comeback, is it really? I'm seeing
more and more people use it, and they have a
tendency of getting more excited over a thirty five millimeter
photo shoot than a digital.
Speaker 2 (21:00):
One, really, because you can't see the pictures right away,
and that's gotta be tough for people.
Speaker 4 (21:06):
Now.
Speaker 3 (21:07):
Yeah, I ended up doing a photo shoot with Debbie.
It was a retro runaway and so they had this
whole event and it was at Lee Lockwood, and that
was one of the requests he asked me to do
was to do thirty five millimeter.
Speaker 2 (21:23):
Pictures because it probably vintage it.
Speaker 3 (21:27):
Looked, and I was like, yeah, and not too long.
It was probably two weeks ago. I was walking around
with my thirty five millimeter camera. I had this family
of four. They got so excited, can you take our pictures?
We'll give you our numbers.
Speaker 2 (21:41):
And so that way you can send us the pictures.
Speaker 3 (21:43):
That were like, we should will pay you like five
ten bucks wow, just to take like one or two
pictures because I was so excited that it was filmed.
Speaker 2 (21:54):
Oh my gosh. Yeah.
Speaker 3 (21:56):
So for whatever reason, it's making a comeback. I love digital.
I mean everybody uses it nowadays. Yeah, and of course,
I mean imagine film is pretty much double of what
you would pay though for digital. Yeah, if you're to
do a full on photo shoot, you're paying.
Speaker 2 (22:16):
Double for the film.
Speaker 3 (22:18):
Wow, it's probably like an additional thirty forty dollars charge.
Speaker 2 (22:21):
Wow, So what, I'm not surprised. So do you do
your own developed?
Speaker 3 (22:27):
Yes? And that's another thing when it comes to ghost photography,
you have to be careful because if you develop your
own film. There again, developing alone is a whole nother beast,
because there are different ways you can develop. You can underdevelop,
(22:48):
you can overdevelop. Some people after they take it's called soup.
Speaker 2 (22:53):
The soup method, the super suit soup. Oh, okay, go
get a ball of soup.
Speaker 3 (22:59):
Okay, yeah, it's called the soup method.
Speaker 2 (23:02):
Okay.
Speaker 3 (23:03):
You take the roll and you put it in a
liquid the whole you submerge the already taking the pictures.
Speaker 2 (23:12):
Already right and.
Speaker 3 (23:16):
In the canister. Now imagine pouring a bowl of big
red and then dropping the canister in the big red
fast wild.
Speaker 2 (23:26):
What does that do?
Speaker 3 (23:28):
It's it basically changes the color. And imagine every film
has its own color like style. So FUJIFILM is gonna
be different from Kodak. They have their own kind of
color style. And then even to like modern day film,
(23:49):
you have phoenix, which is if you do the regular one,
it's more red. Then you have the phoenix too, which
is more of the blue side. So when you drop
it into this quote unquote soup, right, it absorbs that
color and then you essentially have to let it sit
for a while to let the liquid evaporate, so it
(24:11):
takes even longer, and then pull it out and develop it.
Speaker 2 (24:16):
That's wild. I bet it creates some really cool pictures though.
Oh yeah, and you you done this soup method. I'm
not gutsy enough to waste twelve bucks of film. Yeah.
But so if you're developing your own pictures and you've
got the canister, do you just like go into a
dark room?
Speaker 4 (24:34):
And so developing has become easier, okay, a lot easier,
whereas back then you did like you had to have
a dark room with the red light.
Speaker 3 (24:47):
And again this goes back to light exposure and everything else, right,
because the only light that it didn't affect the film
was red light. So that's why when you saw the
movies and everything, it's red light. It's the only light
that doesn't affect it. Nowadays, you can have a dark
bag and imagine like a T shirt. Okay, but you
(25:10):
can't put your head through the headhole, so put your
arms in and you're doing everything blind what essentially, So
some people will pre set it, you know, use the
little tongue looker a bullet out and get the first
little like inch or two onto the film spool. Some
(25:33):
people like me, I just I can just you get
used to how it feels.
Speaker 2 (25:37):
Okay, so you just.
Speaker 3 (25:38):
Literally threw everything in that dark bag, including the Patterson
tank if you have one of those, you put everything
in there, zip it up, make sure it's nice and clothes,
and you're just filling by hand, so you're you're not
even seeing what you're doing.
Speaker 2 (25:53):
That's crazy.
Speaker 3 (25:54):
Some people do have dark rooms and you know, have
that luxury. Yeah, but uh, I don't know that luxury.
Speaker 2 (26:02):
Yeah, it's hard because you have to set an entire
room aside and make sure it's completely light free. Yeah.
Speaker 3 (26:10):
Yeah, it's I mean even something as simple as the doorway,
like the little gap under your door matters, So you
have to get a towel or something to put underneath.
Speaker 2 (26:22):
That because that could actually I think of something like
that light leak. Yeah, where even on film camera it
sounds like, Oh, I'm taking I'm on a paranormal investigation
and I'm taking some pictures. And if I'm developing my
own film and there's light leak, it could look like
a you know, a spirit or something.
Speaker 3 (26:43):
Yeah, and I do have I honestly probably could show
you right now because I have my computer. About if
little stuff changes everything. Yeah, even something as simple as
an X ray. An X ray affects film, even if
it's unexposed. Hasn't You've never taken pictures And I only
(27:05):
know this because.
Speaker 2 (27:05):
I've done it again.
Speaker 3 (27:07):
I was like, I'm gonna waste nine roles of film,
and that's okay because it's Mexico. Coulse this one. When
I went to Mexico. It's like, I'm gonna try it.
I'm gonna sacrifice it.
Speaker 2 (27:17):
Yeah. Yeah, So it's even.
Speaker 3 (27:19):
Something as simple as an X ray will affect your images.
Speaker 2 (27:23):
So like if you're in the room and there's an
X ray, so.
Speaker 3 (27:26):
Like because you know how like airports and you have
oh and you have to get your lucky Yes, you're
getting scanned through TSA or TSA or if you're going
full country, your luggage is getting scanned, getting your film X.
Speaker 2 (27:43):
Ray affects it.
Speaker 3 (27:44):
Okay, So if you're wanting to go for that effect,
then go for it.
Speaker 2 (27:50):
It's great. But if not, it's not.
Speaker 3 (27:54):
Recommendation is put it in a plastic baggie, requests the
hand check and then you're good.
Speaker 2 (28:00):
That's a that's a big tip. I mean it's huge because, yeah,
if you're wanting to go off on a ghost unt
in some other state or something and you're using film.
Speaker 3 (28:09):
Which my recommendation is, always used film on a ghost time.
Speaker 2 (28:13):
That was my next question, Always use film, and the
reason being probably because of what the negative that you have.
Speaker 3 (28:20):
The negative, so the negative alone is again it's just
harder to manipulate a film negative because you have it's
so many added extra steps. You have to digitize it.
You have to pull it in a program to then
turn it in the negative into a positive. So if
you I pay for a program that allows me to
(28:41):
switch it, but you can. It stores all of your
digitized negatives, so I can then revert it back to
a digital negative so you can see the original photo.
And that was one of those pictures that sent through.
Speaker 2 (28:58):
The group chat.
Speaker 3 (28:59):
Yeah, that was one of the digitized negatives. So I
did nothing to it. All I did was pull it
from that program and then sent.
Speaker 2 (29:07):
It to you. All that was the craziest picture. We
could not make heads or tails. It looked like there
was somebody standing in the background from a different era,
you know. It's like sometimes time portal or something. I
don't know what it was, Yeah, I don't know.
Speaker 3 (29:21):
And it's funny, honestly, because that camera came from the
nineteen fifties. It's in nineteen fifties camera.
Speaker 2 (29:27):
Seriously, yeah, seriously.
Speaker 3 (29:31):
And it's funny when you look at it, it looks
roughly from that time period.
Speaker 2 (29:35):
Yeah, because it looked like in the background there was
people or somebody that was from the sixties or something.
It was crazy. It was the craziest picture, I mean.
Speaker 3 (29:46):
And it's just again one of those things that I
even pulled the negative as soon as I sent it
to you on your saying something like I pulled the negative.
Speaker 2 (29:55):
Because I thought I was going crazy.
Speaker 3 (29:57):
Yeah, And I have that negative out individually and separated
from the rest. It's still in the same little page
of it, so you can see the full like.
Speaker 2 (30:08):
Thirty six photos, but it's on its own. Wow.
Speaker 3 (30:12):
And I pulled it out and I held it up
to that and I was like, yep, nope, it's it's there.
Speaker 2 (30:17):
It was so strange. Yeah, and all of the other
pictures on the role were fined.
Speaker 3 (30:22):
Yeah no, and again it's I archive all of my photos,
which is the smartest thing to do if you're doing
ghost hunting is to archive. I would say, create a
separate binder from like other projects, that's specifically for that
if you're gonna do if you know, you're gonna do
(30:42):
quite a few of those, right, just so that way
they people know it's not like some you're pulling some
random right, and you can be like, no, it's this binder.
You go grab it and you can start looking through it.
So that way they're the ones physically grabbing the binder
and it's not like it's you trying to.
Speaker 2 (30:59):
Pull a fast one. You're not pulling a mumbler. Yeah yeah, yeah,
well well yeah, I'll have to Yeah, that's still in
our group chat. I'm gonna have to put that up
on the socials and let people take a look at that.
It's a strange picture. I can't even really describe it.
Speaker 3 (31:14):
I have it too, I mean, like I still have
the negative. So if you want if yeah, a cell
phone picture of the negative, Yeah, up to one of
the window panes on my house, so that way they
can see it.
Speaker 2 (31:28):
Yeah, I'm sending the negative too, because that would be
really cool and that way people can see what we're
talking about. But it was a really strange picture. We
were all scratching our heads.
Speaker 3 (31:36):
It's and that's why I just I personally love film
when it comes to ghosts. It's just it's hard to manipulate.
There's I mean, you can manipulate digital all you want. Yeah,
negative film negative can't do it.
Speaker 2 (31:53):
No, No. I and I have like, well, I've got like,
I think, one little film camera that I occasionally take
on investigations, but I haven't taken it in a long
long time. So I'm going to be bringing it more now.
Speaker 3 (32:08):
I want to take mine to I don't know, I
don't know where I want to go, but I want
to test it.
Speaker 2 (32:15):
Well, we'll have to, like I take it someplace and
test it.
Speaker 3 (32:18):
And I do have three or four that are the
exact same brand body make like they're all the same,
so it's easy just to you know, line them all up,
knowing that they're all the same, make model in a line,
get the same exact role because I I'm a little excessive.
(32:39):
I have a close to fifty sixty year rolls of film.
Speaker 2 (32:43):
Cool and some of them, like, well, most of them
are the same.
Speaker 3 (32:46):
I would say probably probably like twenty to thirty are
the same. They're all fujifilm. So you can just all
put fujifilm on the same those cameras and then do
some triangulating.
Speaker 2 (32:57):
Yeah, see if they all catch the same image or
similar or depending on where they're sitting.
Speaker 3 (33:04):
I love that, and you know that when it comes
to ghost photography and stuff like that, if you get
the same camera, make model get the same film you
put them on and just to see, like who knows,
if we're sitting across from each other like we are
now in a room, it'll be interesting to see if
I catch something. And then if Robbie's sending sitting next
(33:27):
over there and he's also facing a camera towards you,
to see if he catches it. Yeah, if they're all
in a line, it's like who got this like apparition
and who didn't, And then number them so that way
we know exactly who was who. It's like Cindy's gonna
be camera one, Allie's gonna be camera two, Robbie's three,
(33:49):
so that way, and you number the even number the canisters.
Speaker 2 (33:53):
This is like an experiment that you're setting up. Yes, yes,
we need to do Yeah, so we should. I maybe
go out to the palace and do that at the palace.
That would be really cool. I didn't know that you
have these three different cameras. That would be such a
fun thing to do.
Speaker 3 (34:11):
And it's it's interesting because you never know even if
you take something from that time period, maybe it triggers.
Speaker 2 (34:18):
It doubles it.
Speaker 3 (34:21):
Does I see what you did there, double exposure, exposure double.
Speaker 2 (34:32):
That would be so fun. We need to do that.
We need to get the gang together and you go
out there.
Speaker 3 (34:37):
And do this.
Speaker 2 (34:40):
It's just little stuff like that, but it's really cool.
And I mean, you bring up a really good point
about triangulation because whether or not, you know, I bring
my phone or a digital camera on investigations, I almost
everybody does. But you make such a great point on triangulation.
And you know, even if there there's not other cameras there,
(35:01):
it's like you know that whatever's happening is going to
be more credible if somebody's going, oh, look, I see
a ghost standing over there in the corner, and somebody
snaps the picture and gets a ghostly image, and somebody's
got a recorder going and gets an EVP, and somebody's
EMF meter is going off. You know. The more information
(35:22):
you can get about whatever seems to be going on,
I think, the more credible it is.
Speaker 3 (35:28):
Yes, And I would also say, never fully trust one person,
So like it's one of those things that would that
be something I would be fully comfortable developing the film, Yes,
But should I be the one person developing it, Probably not,
because it's one of those I'm slightly too close to
(35:50):
the situation.
Speaker 2 (35:51):
But I could.
Speaker 3 (35:53):
Yeah.
Speaker 2 (35:53):
But also even if I were to.
Speaker 3 (35:55):
Develop the film, I'd be like, dude, I need at
least I need a either record myself.
Speaker 2 (36:01):
So that way y'all see that I'm not pulling any
You're not pulling a bumbler. Yeah, I'm not.
Speaker 3 (36:07):
Or there's some people here in town that I know
that develop film, and so it's just finding even a
credible place that develops film.
Speaker 2 (36:17):
Well, And I mean yeah, and I think that's important too.
If you find a credible place and you don't tell
them what it's for, you know, it's just like, hey, here,
just develop this and they don't come in with this
preconceived notion that, oh they're wanting a ghost on the
film or whatever, let's make that happen. Yeah type thing.
Speaker 3 (36:38):
Again, you just have to know people. You send them
in and they're gonna be honest. It's like, hey, I
don't know what these are used for, but they're all
black or like there's nothing on them.
Speaker 2 (36:49):
Do you want them or do you just want us
to trash room?
Speaker 3 (36:51):
So it's just it's an easy kind of one of
those they're going to give you an honest yeah, quote
unquote opinion of what happened, if anything actually got developed.
Speaker 2 (37:03):
Yeah, because they don't know what you're looking for. So
I think that's that's really important. So boy, after this,
I'm going to be taking my film camera on every investigation.
Oh yeah, yeah, I'm going to go home and I'm
going to like pull out that little thing and see
if it's still working and get some film. And you
(37:24):
can order film on Amazon right. Yes.
Speaker 3 (37:27):
Also Walmart has some really Walmart is now selling I
will say it's twenty eight.
Speaker 2 (37:34):
Dollars for a pack of three out food ouch. Yeah,
So I mean it's a little uh, you know, you
want to use it sparingly. Yeah.
Speaker 3 (37:45):
And then mc art Supplies, which is on Washington, Okay
for all of you little wacou people. Yeahh So mc
art supplies sells film. They sell both black and white
and color film. Black and white's the cheapest. Okay, It'll
be like, it's still a little bit pricey, but not
(38:07):
too bad. It's anywhere from five to ten bucks sometimes more.
Speaker 2 (38:12):
Okay, wonderle that's still a little pricey. But I mean, hey,
you know, it's not like you're going to be using
a whole bunch of it or.
Speaker 3 (38:19):
You could just you know, if you go on ghost
investigation borrow from my fifty sixty film canisters that I have.
Speaker 2 (38:26):
People might hit you up. They'll be like Alison, And then.
Speaker 3 (38:30):
At that point I be like, Okay, for close friends
and family, it.
Speaker 2 (38:33):
Is for you it is I'm charging to a park up,
you're going to pay. But yeah, film cameras, it sounds
like that is that is the way to go. But
I also wanted to talk a little bit let's see
how we're doing on dime here. I wanted to talk
a little bit about digital photographic anomalies because I have
(38:56):
kind of a joke that if I had a dollar
for every orb picture that somebody sent me, I would
be a rich woman. So the orbs, the light streaks,
the you know, the vapor, and I've had people say, oh,
(39:16):
it's a vortex, and I'm like, well, how do you
know it's a vortex. I don't say this out loud,
but it's like, you don't know that that's a vortex.
All I'm seeing is this light anomaly. So in order
for a camera, I'm thinking this, and you let me know,
in order for a camera to capture an image, whether
it's digital or film, it has to be something that
(39:37):
light is reflecting off of in the environment. Is that true?
Speaker 3 (39:44):
Yes?
Speaker 2 (39:45):
Okay? And so when it comes to these light anomalies,
how likely do you think they're a ghost or do
you think it's something in the environment natural? And what
could that be?
Speaker 3 (39:58):
So imagine the camera lens as your eyeball. Okay, that's
pretty much what you're looking at. And if I mean,
you see light reflections and refractions all the time with
your normal eye, right, So that's.
Speaker 2 (40:14):
Pretty much what a camera is. It's just a magnified eyeball.
It's a mechanical eyebil. Yeah, and yes, there's tons of ways.
Speaker 3 (40:24):
It's again, it's a type of method that are a
technique that's used in photography. You see a lot with
like the light rays going across somebody's face and you
know they're they're the center of the subject, and yet
they have just to show that they're shining and stuff
like that. Got it, So, yes, there is techniques to
(40:46):
use that to your advantage. MH. You have to be
very careful and very aware because if you're inside and
you're taking one next to a computer, the computer light's
gonna reflect off of your face if you get it
at the perfect angle, or if you're next to a window,
the sunlight, the street lights, if there's a lot to
(41:09):
look at. Mm. If you're in a pitch black room
and you still see it, then it's a little bit
more credible.
Speaker 2 (41:18):
That makes sense.
Speaker 3 (41:20):
But you also have to think of dust, Yeah, dust
fuzzies from your shirts, your bunkets, hairballs from your pets,
if you have pets, because imagine the.
Speaker 2 (41:33):
Like they should. Yeah, they do. So it's it could
be countless things.
Speaker 3 (41:38):
And you have to be aware of the environment, yeah,
of what's around you, because that affects a lot.
Speaker 2 (41:44):
And yes, if you get it at the right angle,
that hairball, it becomes a ghost. Yeah, it could be.
Speaker 3 (41:53):
Catching the fan the fan, you know, the wind that
the fan creates perfectly, and it's now.
Speaker 2 (41:59):
Blowing nearly in the air, and you're like, oh my god,
look at that. Oh ghost. Yeah, okay, And that makes
total sense because I I'm always really skeptical of any
kind of orb at all. The dust too.
Speaker 3 (42:17):
I mean I said dust, but also like I say
dust and like dirt, yeah, outside, like obviously dirt and
all that's gonna affect it.
Speaker 2 (42:25):
Yeah, so well, and I look at that too, because
a lot of times when we go ghost hunting, it's
not in this nice clean building. They're in these dirty,
dusty old buildings and attics and basements. And yeah, there's
just so many environmental things. There's a lot that it
(42:46):
could be. So sorry, I'm it's time for my early
it's early morning, map, I've only been up for five hours.
Had even that. Yeah, it's sorry, time for my neck.
Sounds good though, I agree for that time. But but yeah,
(43:06):
and so so many people, and I think a lot
of times they just want to see a ghost so bad,
and they automatically just say okay, this is proof. This
is proof of something you know happening. And you know,
(43:27):
I look at it. When I think of orbs, I
think of are you because I know that the camera
picks up things that your eyes do not, and vice
versa when you're in a situation. So I've always kind
of gone at it with orbs of if you're seeing
it with your eyes, I think that's a little more
(43:49):
credible because I'm thinking there's something actually in the environment
that you're picking up and seeing. But if you capture
orbs with your camera, could it be something paranormal?
Speaker 3 (44:02):
Maybe?
Speaker 2 (44:02):
But my gosh, there are so many other natural possibilities.
Speaker 3 (44:08):
Yes, there are other filters. I mean, you have infrared,
which is what game cams use. I mean we use
that all the time for ghost hunting, So.
Speaker 2 (44:19):
You have do you have infrared?
Speaker 3 (44:22):
There are some other filters, even for like digital photography
that is now becoming a thing. You have an UV
filter that you can put on a flash.
Speaker 2 (44:32):
I don't know, this cool. So they're starting to come
out with that kind of thing. They're also coming out
with infrared.
Speaker 3 (44:41):
Filters as well, whether that's on the flash or physically
put onto a camera lens that you can use.
Speaker 2 (44:50):
I know, something like.
Speaker 3 (44:51):
A GoPro has a sensor in it that doesn't allow
it to see infrared. So some people I know will
go in and like tinker with their GoPro, tinker, I mean,
take it apart and find a way to get rid
of it.
Speaker 2 (45:08):
So yeah, there's that. Okay, So with infrared and ultraviolet light.
Speaker 3 (45:17):
On?
Speaker 2 (45:17):
Can you do that with film cameras? So? I think so.
Speaker 3 (45:23):
Again, it's a filter that you would have to use.
I think it's either the one you have to put
on the lens or with the flash. So if you
have a flash, then yes, okay. Essentially, because it's nothing
but mirrors and it's just a different form of light,
you're just that's pretty much what you're doing. You're tinkering
(45:44):
with the light source that the camera has to pick up.
And the camera, especially film cameras.
Speaker 2 (45:51):
Are mirrors.
Speaker 3 (45:51):
They use mirrors, so you're you're messing with the light
source and then you're using mirrors to capture that light.
Speaker 2 (46:00):
So essentially, yes, you can use it. Sounds a little
more complicated though, And then I don't know if you
have you heard about the full spectrum cameras. Yes, for
for ghost hunting, and the theory about those goes that, Oh,
because supposedly it's capturing the full spectrum from infrared to
ultra violet anywhere in between, it gives you a greater
(46:23):
chance of getting a legit ghost photograph. What do you
think about that? Do you think yay or nay?
Speaker 3 (46:32):
I think depending on what it's being used for, Okay,
I mean some like some people like us that are
genuinely doing it, as I guess.
Speaker 2 (46:47):
Quote unquote profession Yeah, I'll go with that. Yeah, for
professional ghost hunters.
Speaker 3 (46:52):
It's I mean I would say probably it's just also
you have certain quote unquote professionals using it, and uh yeah,
we see how.
Speaker 2 (47:04):
That works out. Professionals on TV quote unquote yeah, yeah, yeah,
those professionals that we always like to make fun of.
Those people, Yeah, those adventurers. Okay, yeah. And because I
wonder about that, because I at one time had I
(47:26):
still might have it. I needed to dig through my
ghost honey equipment, I still might have that full spectrum camera.
I've never caught anything on it. I've never really caught
a photographic anomaly that I thought was like, oh, yeah,
this is a ghost. I mean, so I kind of
(47:46):
maybe want to kind of end there, see what time
it is. Oh yeah, we should probably wrap them. So
you know, what do you think about what would if
you be in this professional photographer, what would make you
think this is an ghost? I've captured something paranormal on
my on my camera or my video. What would what
(48:08):
would it take to convince you?
Speaker 3 (48:10):
I think always get second opinions. And that's why even
with that one picture, I looked at it, I was like, what,
there's no way, there's no like I was getting excited.
I was like, no, no, no consent.
Speaker 2 (48:28):
I was like, it was a crazy picture though. It's
one of those things you and yes, we will be
posting it. Everybody's like, what picture? What picture?
Speaker 3 (48:37):
Yeah? Yeah, so I will say make sure again we've
talked about this, but make sure you're part of a credible,
good group of Yes, your team is good, they're credible,
they're worth, They're gonna be.
Speaker 2 (48:51):
Very blant and I'm very honest.
Speaker 3 (48:52):
Yeah, And because stuff, when stuff like that happens, you
can send it to that group like I did and
say I'm getting a little too excited, I need opinions.
Why do you think you just give them bare minimum?
And then when you like, y'all did y'all start asking
it's like where was this?
Speaker 2 (49:13):
I see this?
Speaker 3 (49:14):
Then at that point you can give them like oh
I was with my husband like in this moment room. Yeah,
you can start to give little details. And then because
in that kind of credits of where where the photo
was taken, what was taken And in this scenario, we
were actually outside see.
Speaker 2 (49:36):
And that's wild because it looks like suspension bridge. That
is crazy because this well there again, we'll just we'll
post the picture, y'all. It looked like you were like
standing in front of a window with an elevator inside
a building. And it's crazy. I mean so not the
suspension bridge at all.
Speaker 3 (49:56):
So the east would go off m h, I was
others out of the road and then taking picture of
this is pitching bridge. So that was literally the only
the closest voting to.
Speaker 2 (50:06):
Us and you are across the street from it.
Speaker 3 (50:08):
Yeah. No, we were on the other corner, not even
next to it, on the other corner. And you look
at the windows. There's no writing whatsoever on those windows.
Speaker 2 (50:17):
No, no, and there was writing on the windows in
this photograph. It is the craziest photograph. I can't make
heads or tails of it. I don't know either.
Speaker 3 (50:26):
It is it's crazy, but stuff like that, you start
to give details, and then when everyone kind of figures out,
like all the information and they're piecing it together, it
makes it more, it makes it worthwhile, it makes it
more credible.
Speaker 2 (50:44):
Well, and the thing is too, is you know, all
of us were stumped with this photograph, and if we
posted on the socials, you know, maybe somebody, maybe some
of y'all might be able to see it and go,
wait a minute, I recognize that place, or I recognize
that right, I recognize where this was taken and provide
(51:04):
even more information or say, oh gosh, this would be cool,
creepy cool, But it's like, oh gosh, yeah, that's the
elevator from the such and such building that was destroyed
in the tornado in nineteen fifty three. You know, something
like that. I'm getting goosebumps just thinking about it. But
something like that where it's kind of like, if you
can get this verification outside verification and you're absolutely right, yeah,
(51:31):
it's kind of like, yeah, send it to people blind.
You know, what do you think what's going on here?
Or like like you said, with the photography, the film developers.
Don't tell people, don't give people too much information, and
don't make these assumptions. Don't automatic. I mean, yes, it's
really exciting when you get an anomalous photo. I mean
(51:53):
it's really cool, but don't get too excited and don't
jump to conclusions too quickly because you know there could
be a natural explanation. And I mean, yeah, that kind
of is like a downer. But but then sometimes you'll
get something crazy and unexplainable.
Speaker 3 (52:14):
I will say, the easiest way to if you want
to do film photography, that's almost cuts out the middleman.
You can do polaroids.
Speaker 2 (52:25):
Oh okay, so.
Speaker 3 (52:29):
Again it's a little bit. I mean it again ups
and downs. It comes with its red flags, but but.
Speaker 2 (52:40):
I would think that those would be more still more
difficult to manipulate.
Speaker 3 (52:45):
It is, and that's why I say, if you're someone
that's wanting to try a method that potentially has a polaroid,
that is an easy way to do that. And our
favorite you know people also do that, so the adventurers. Yeah,
so it's again easy. You put it. You grab a
(53:08):
sharpie on the back and you write it or even
on the bottom that extra bottom. You date it and
put the location.
Speaker 2 (53:18):
That makes sense. Something as simple as that, it's.
Speaker 3 (53:20):
Again slightly harder to uh manipulate, and it quote unquote
develops written.
Speaker 2 (53:29):
In there, so you have almost an immediate response.
Speaker 3 (53:34):
And I've seen that technique used before in ghost hunts.
I've seen worth even getting a bulb flash and getting
a picture. I've seen that technique used before, So it's possible.
Speaker 2 (53:48):
That's cool. I didn't even that well, you know, yeah,
I didn't even think about the little polaroid cameras, and
I know that those have become kind of more popular
again too. Yes, so yeah, anything aside from digital, and
I mean I or maybe maybe in addition to digital.
You know, okay, we're we're in a ghost hunt, and
(54:09):
we've got our phones because everybody's using their phones. Now,
we've got our phones, and we got some digital or
a digital camera or two, and we've got the film cameras.
So if the film cameras are picking up with the
digital cameras are picking up or vice versa, then then
there again I think it just maybe just yeah, it
all just comes back to triangulation and with people different
(54:31):
eyes on it, and then then you can say, okay, yeah,
something really strange.
Speaker 3 (54:38):
Is going on here, and it like you said, I mean,
it's what it's great. You can try different techniques, different
methods and what do you get. It's one of those
what do you kind of get things?
Speaker 2 (54:50):
What are we going to get?
Speaker 3 (54:51):
Yeah? Who what are we going to catch?
Speaker 2 (54:53):
It's exciting. But I do think that, you know, there's
definitely a place for photography and definitely a place for
video in ghost hunting. And I mean even with all
of the ease of manipulation with software and and whatnot
and and all of that, you.
Speaker 3 (55:12):
Know, it would be a fun place to try to
eat outside of the theater.
Speaker 2 (55:17):
What was that the Liberty Hotel? That would also be
a really cool place to try that out.
Speaker 3 (55:23):
That would.
Speaker 2 (55:25):
The one in Cleburn. Yeah, hey, Georgina, don't you know
folks at the Liberty. That would be really fun, especially
on that one room on the what was it the
fourth floor getting Yeah, the third or fourth floor where
it was getting all the catball activity. That was a
crazy room.
Speaker 3 (55:45):
I know.
Speaker 2 (55:45):
Yeah, you're like, no, thank you, no, but you're right, no,
I yeah, we're gonna have to like pitch in. We'll
pitch in and buy some film, you know. I don't
want you to use all your your roles of film, but.
Speaker 3 (56:00):
I'd be glad to use all my prom I don't know,
but still, you know you get a collection of gadgets
and gizmos and things.
Speaker 2 (56:08):
Yeah, well you know that's expensive. But yeah, we're gonna
have to do some experimentation with your cameras. I didn't
know that you had like three identical cameras. I shouldn't
be surprised by this because you're a photographer, but yeah,
that would be super cool.
Speaker 3 (56:24):
I do Also, if you're film photographer, goes gonna be
using this on, go make sure it is if you can,
the phone that's in it, Make sure it's refurbished, because
even if the phone that lines even the back, if
that wears down enough, that'll.
Speaker 2 (56:44):
Cause light leaks.
Speaker 3 (56:45):
Oh good.
Speaker 2 (56:46):
Yeah, even if it's one of.
Speaker 3 (56:49):
Those interchangeable lenses, the phone that's there to protect it,
if that wears down, that'll cause light leaks as well. Okay, Luckily,
none of my case, I don't have any of those issues.
Good so, but I know that a lot of people
have issues like that, and that is a thing. Okay,
(57:10):
So make sure that that the phone strips are good
enough for it to not cause light weeks.
Speaker 2 (57:17):
So if you have your film camera and you take
some pictures and it looks like there's there's ghosts in there,
make sure it's not just bad phone. Another good tips,
so many good tips. I love it. See I knew
you'd like have all these really great things to say
about this particular episode. And I mean, for me, I'm
(57:38):
just I'm definitely one of those people that just point
and shoot, you know, whether it's a film camera or
whether it's a phone or a digital camera or whatever.
Speaker 3 (57:47):
And so I mean even point and shoot film cameras
are really amazing, because again, how are you how are
you used to post like you're just like, oh, let
me just take it, hit the button.
Speaker 2 (58:03):
And that's me. I'm expecting the toada.
Speaker 3 (58:09):
That's just some people. And I love those sporting point
and shoots. Yeah, so those are great. If you're in Wico.
The best place that has film cameras is Central Goods.
Speaker 2 (58:20):
Really, yes, I didn't even think.
Speaker 3 (58:24):
Oh it is owned by Zach and Kate. Fabulous couple. Okay,
I love them, love them to death, but yes, they
are the ones. It's an antique shop.
Speaker 2 (58:34):
I was gonna say it's a little antique shop. It's great.
I would not say it's kind of a duh, but
I wouldn't think to look to buy cameras there.
Speaker 3 (58:42):
Yes, so if you're in town, that's a great spot.
And if you want to find good quality cameras that
are worth buying, that's a place to go.
Speaker 2 (58:54):
I might have to take a trip to Central Goods.
You forgot me excited. I need to like get another
film camera.
Speaker 3 (59:00):
I know, and there's one that I've woke. Keven kind
of wanted to buy from there and I just haven't.
Speaker 2 (59:08):
It is it like an older one?
Speaker 3 (59:11):
I mean it's a point in shoot. I don't technically
don't have a point in shoot yet a film camera
all the minor the complicated ones, which means if we
try that experiment, I might be the one telling y'all how.
Speaker 2 (59:24):
To set the camera up. Well, yeah, but in education manually.
Speaker 3 (59:29):
Doing it, so I'm not the one setting it up,
so I'm not gimmicking.
Speaker 2 (59:33):
You're not mumble rane, yeah, but you don't get this though,
I have. I know that my film camera is a
point and shoot. It's like from the nineties, so it's old. Thanks, Yeah,
I don't know. Maybe it's got that PHAM issue going on.
I haven't taken pictures with it in ages.
Speaker 3 (59:53):
I could not tell you anything about eight point and
shoot thirty five. Yeah, all online or the fancy fancy
ones where it's the interchangeable ones is.
Speaker 2 (01:00:06):
So that's how I know about the film issue. Yeah. Yeah,
well you know you're a photographers, so yeah, I like
to make over complicate my life. Yeah, but your photographs
are beautiful. Yeah, and for people your ARC productions, right, yes, okay,
Arc Productions, Arc Productions, everyone photography great.
Speaker 3 (01:00:30):
And I do have film photos on my social media,
so that's another thing that I need to send you
just so that way, yes, people can kind of see
what normally comes out and what can be produced from
a film camera.
Speaker 2 (01:00:46):
Yeah, we need to post this on our socials because
you know, film versus digital and definitely that weird picture
and if you could, you know, we could post the
negative because that way people can get an idea of
what except we're talking about.
Speaker 3 (01:01:01):
Yeah, and it's you know, I mean again, you can
get good at it and make a film picture look digital.
Speaker 2 (01:01:09):
But yes, it's.
Speaker 3 (01:01:11):
Again it's just learning and growing. But most film pictures
you'll be able to definitely do.
Speaker 2 (01:01:17):
Yeah. So cool. Alrighty, well, I think yeah, we should
probably wrap it up a little over time. But that's okay,
this has been really interesting. I don't want to go
out and take pictures now.
Speaker 3 (01:01:29):
Okay, maybe we can have a depending on what you're doing,
have a little fun experiment at the Doctor Pepper Museum.
Speaker 2 (01:01:37):
I still haven't tried that experiment. By the way, I'm
wiggling my fingers in glee. Yeah, because I think.
Speaker 3 (01:01:43):
The last time we did the Doctor Pepper episode and
I said.
Speaker 2 (01:01:46):
Oh, might go in, and then I never did. You
never went into the to the museum to get pictures,
even though I was like, oh, I.
Speaker 3 (01:01:53):
Might go do that.
Speaker 2 (01:01:54):
Oh yeah, I never did. I was gonna say, I've
got the connections at the Doctor Pepper Museum.
Speaker 3 (01:02:00):
I never went in after that, and I was like, eh,
I'm too tired.
Speaker 2 (01:02:03):
Yeah, well we can we can remedy that. I know people,
we could definitely remedy. That would be fun. That would
be really fun.
Speaker 3 (01:02:12):
Don't they have the paranormal tour?
Speaker 2 (01:02:13):
Yeah, they do have a paranormal tour. I used run
the pace to tonight. They do, but they're usually sold out.
You have to like book them weeks in advance. Well,
all I'm saying is that, well, we can work something out.
I know people at the Doctor Pepper Museum. So yeah,
(01:02:34):
Alson's getting all excited now, yeah, yeah, we can work
something out because that would be a fun thing to do, definitely.
Speaker 3 (01:02:42):
Well yeah, okay, there.
Speaker 2 (01:02:44):
Goes my life. Yeah, I can goot pictures now, yeah,
I ghost pictures. Okay, Well, probably time to wrap up.
This has been super interesting and we'll see you next time. Goodbye, everybody, Bye.
Speaker 1 (01:03:01):
This has been spooky a paranormal podcast.
Speaker 2 (01:03:04):
We hope today's episode since shiver us down your spine
and sparked your curiosity about all things ghostly. If you've
enjoyed what you've heard, don't forget to subscribe and leave
a review on your favorite podcast platform. You can also
catch us on Facebook and Instagram. Until next time, stay curious,
stay vigilant, and
Speaker 1 (01:03:24):
Never be afraid to explore the shadows.
Welcome to Spooky, a paranormal podcast, joined doctor Cindy Little
and Alison Robles as they journey through the realms of
the supernatural, mysterious, and downright eerie, from ghostly apparitions to poltergeists,
from haunted houses to strange phenomena. Prepare to have your
senses heightened and your beliefs challenged. It's time to grab
(00:26):
your headphones, dim the lights, embrace yourself for a journey
into the unknown.
Speaker 2 (00:32):
If you dare. All right, welcome to another episode of
a Spooky Paranormal podcast where your host Cindy Little Anne. Yeah,
so today we are going to be talking about spirit photography.
And Alison is a local photographer and she's absolutely extraordinary.
(01:00):
So I you know, as I was thinking about this
and preparing for this, spirit photography's been around for a
really long time, and I'm going to be handing a
lot of this off to Allison because she's really the
photographic expert here and when we talk about photographing ghosts
(01:21):
and things. So so yeah, I'm just going to open up,
if you don't mind, with like kind of a history
of it, yeah, and then we'll go from there. But yeah,
this has been around for a really long time, and
it really kind of started when, of course cameras started,
you know, coming on the scene back in the eighteen hundreds,
(01:42):
and there was a guy, William H. Mummler who's credited
with taking the first quote unquote spirit photograph, and while
he was developing a self portrait, he claimed to see
a faint extra figure like a peer aside him, so
it looked like there was a ghost in the picture
(02:03):
with him. Well, whether or not that's true, he decided
that hey, you know what, I can like really make
some money doing this, and he starts offering these portraits
where deceased loved ones can appear in photographs with you,
(02:25):
and including Mary Todd Lincoln. She was like really big
into seances at the White House, and yeah, Abraham Lincoln's
ghost still, I guess, haunts the White House, which is
really kind of interesting. So of course she goes to
him and says, oh, hey, I would like this spirit
(02:45):
photographer to take my picture, and of course, what do
you know, he takes this picture of her and there
is Abraham Lincoln standing right behind her, the ghost of
Abraham Lincoln standing right behind her, and of course she's
just like wow, yeah, this is wow, that's amazing, and
(03:07):
she believes it's true, and that kind of kicked things off.
It was also during the spiritualism movement, and so that's
where people it was like right after the Civil War,
and everybody was wanting to have contact with, you know,
people that had died that like their deceased loved ones.
(03:27):
So this just like really played into it big time.
And Mamla really took advantage of this. And of course
then I'm like, well, you know, how did he do it?
You know, I don't know much about early photography. I
don't know much about current photography either. I just like
(03:48):
point my phone at things. But I did a little
research on that as well. And from what I understand,
they had like glass plates. I don't know if you
know anything about this or not.
Speaker 3 (04:03):
I know, very minimal, and I mean I have cameras
that are from as early as the nineteen thirties. Wow,
I just I mean obviously all of them are just
the whole what we learned in science refraction and reflection
(04:23):
and that's all I know.
Speaker 2 (04:24):
And I'm like, yeah, yeah, well, you know, you know
more than I knew. I mean, I had to like
look this stuff up but basically what they did because
they were like on these from what I understand, they
were on these glass plates. So it was like that's
what the negative was, was this glass plate. Well, of
course you could do all kinds of manipulating with this
(04:45):
glass plate. You could use a plate that had already
been developed or exposed and reuse it and make it
look like there's like an apparition superimposed on it. You
could have a dirty plate that looked kind of smudgie
that's already you know, that could come up as a
ghost in the in the exposure. And of course, because
(05:07):
it took such a long time, they'd have to like
leave the aperture open for such a long time to
get the shot. They would like I loved this. They
would like have a guy with a literal white sheet.
I love look on Allison's face right now, a literal
white sheet over him, and he would just like jump
(05:31):
in in front of the the aperture opening and then
like jump out. Because you know, it took so long
for the exposure to happen that when it was all done,
it looked like there was like this translucent, you know,
ghostly figure. It's ridiculous. It was absolutely ridiculous. And if
(05:51):
you look, it's so funny because the technology was new
and everybody's like, ooh, it's it's magical voodoo. But they
didn't have an understanding some of those early photographs of
like seances and ghosts and things. It's like, I love
the mediums because they'll like have pictures of mediums and
I might put some of these on the socials where
(06:13):
they've got literal like cotton coming out of their noses
and they're like, oh, it's ghostly echo ectoplasm. Oh there's
a spirit.
Speaker 3 (06:21):
In the room. World.
Speaker 2 (06:22):
There will be like a little cut out of a
person's face and they'll like paste it up above their
head and stuff. But people, it's ridiculous.
Speaker 3 (06:34):
Reasons why photography has a reputation it does and why
people say you can never make money off of it
because it's stuff like that.
Speaker 2 (06:47):
I know. I just thought it was so interesting. It
was like the new technology of the day, and everybody's
just like kind of wow, they're not questioning it at all.
Last I can't but blast five. No, you need to
you need to go with me. I think they're having
it again this fall. The historic Waco houses are I
(07:08):
think it's mccaullaugh House where they're opening up there. They
have like a big spooky event and they have like
you you sit down and they have a special camera
now where there's a ghost in the picture with you.
So that's it's fun. I mean it's obviously fake. But
and I think last year it was like a Civil
War ghost. I know how I feel about that. Why
(07:31):
I feel slightly disgraced.
Speaker 3 (07:36):
So for the like Ciddy said, I actually do photography,
so that goes slightly disgraceful.
Speaker 2 (07:42):
But okay, you've tarnished my profession.
Speaker 3 (07:47):
Okay, okay, Spooky Goes pictures.
Speaker 2 (07:50):
It's fun though, and so I loved my Spooky Goes.
It was like a big deal. Everybody. There's like a
line out the door, you know, just to sit down
and have a soul. You're standing behind you. You know,
he's like looking all ghostly.
Speaker 3 (08:03):
Yeah yeah, it hurts every fiber. Oh now, come on,
you know, just it's like my two favorite things, and
they're just like crossing them like however they.
Speaker 2 (08:20):
Want in an obnoxious way. Look, it's a ghost and
it's like one of those little cartoon ghosts. Yeah, yeah,
that's what That's what I'm saying.
Speaker 3 (08:28):
It's like, oh, no, goose, It's like it's a ghost
emoji guys.
Speaker 2 (08:34):
Okay, oh, now you know, but but yeah, it was,
it's it's it's good, it's it's a fundraiser, so you know,
for the historical So.
Speaker 3 (08:44):
I mean, I guess, get fine, fine, And there are
other ways to get ghost pictures?
Speaker 2 (08:55):
What Okay? Well, and yeah, we're going to be getting
into that now because fast forward to today. Yeah, so
spirit photography has been around since the eighteen hundreds because
of the new technology and people wanting contact with their
(09:18):
dead loved ones and longing for proof of the afterlife
and all that stuff. So with all that in mind,
miss Allison, do you think that we can actually capture
ghosts photographically? And if so, how can you tell the
difference between what might be a real ghost and somebody
(09:41):
trying to trick us?
Speaker 3 (09:44):
So there's so many different rabbit holes you can go down.
Speaker 2 (09:48):
Pick one. Let's go.
Speaker 3 (09:50):
So in the case of who is his name, mister
William Wright, mister Mummler, mister Mumler, Yeah, yes, William H. Mummuler, Yeah,
So he double exposure is very common, okay, So, which
we've kind of talked about it before in our little
(10:11):
ghost group chat that.
Speaker 2 (10:13):
You had a weird photograph. Yeah, all of us were stopped.
Speaker 3 (10:17):
So double exposure is if you're doing film photography something
that you have to be very careful of. I personally
do not like it. If you're wanting to do that effect,
then yeah, you know it's great because some people do
enjoy that. I personally, when it comes to my photography,
(10:38):
I don't like it unless I have a cheap role
of film and I'm like, oh, I have nothing better
to do with my life, let me just go practice
this method. This, you know, because it is a method.
It's an experimentation kind of thing, right, so when I
have nothing better to do, I'll go do it. I'm
(11:00):
not gonna just go do it and then just be like, yeah,
this is great and you can go if you If
those of you who have Instagram social media, you can
look it up TikTok Instagram double exposure and there are
tons of pictures comes up. It's so easy to once
(11:21):
you get good at it, to manipulate it. The only
thing is film is harder to manipulate it. So if
you mess up, you mess up and it comes out
very bad. And there's sometimes where yes, it's like, what
is it that you know? And it Yeah, but if
you're gonna capture a spirit on film photography, it's better
(11:46):
to not even do double exposure. Oh why again doing
it as a profession, I just don't do it right.
Speaker 2 (11:54):
But when you do.
Speaker 3 (11:57):
Those kinds of like if you're trying to get a ghost,
don't do the whole exposure under any circumstance. Okay, the
way they show up, it's more credible on film photography
because there's no way to manipulate the film strip because
even opening the little back of the door once it's
(12:19):
exposed to light, messes up the film, right, and it
messes up however much is out, So you could have
one picture accidentally open the door and it's fine.
Speaker 2 (12:28):
You used to have thirty pictures the barrel, Yeah, that
are in the barrel that are safe to use in
the dark.
Speaker 3 (12:36):
Yeah.
Speaker 2 (12:37):
So it's that's this. It's light sensitivity. Okay, that makes sense.
Speaker 3 (12:43):
So when imagine when you take a picture, even on
your phone, and you see all theo's like graphics where
it's like the camera shutter closes and opens, so it's
when it's open, so it closes to solidify that picture
and then.
Speaker 2 (12:58):
It opens back up, okay.
Speaker 3 (13:01):
So it's almost trapping that light in to expose it
to that frame and then opening up to release the light.
Speaker 2 (13:11):
Okay.
Speaker 3 (13:11):
It's kind of how like that photography.
Speaker 2 (13:14):
Works, Okay, okay.
Speaker 3 (13:16):
And then if you look at we're gonna go down
like dsl R and mirrorless, it's the same thing where
the mirrors flip up. It's almost flipping that light up
and trapping it in their first split second and releasing
it and then releasing the light. So it's it's all
light exposure. It's the what's being exposed to the camera,
(13:39):
because that's what I understand.
Speaker 2 (13:41):
Like I said, I don't know much of anything about photography,
but what I understand is, yeah, with film, it's okay,
it's light sensitive. And so yeah, the open the aperture opens, okay,
and the light comes in and then the aperture close
and then it captures the image and then the light
closes or the aperture closes, but then it opens again.
Speaker 3 (14:04):
So yeah, if you if you take like a lens,
which I probably should have brought one just to show you,
but if you have a lens, you can open and
close that and you can see the little lenses, the
blades on the inside open and close, right, So the aperture.
Speaker 2 (14:21):
Is almost the distance. Okay.
Speaker 3 (14:25):
That's what aperture is is how much distance is blurry
and how much will not be blurry.
Speaker 2 (14:32):
Okay, so that's like your depth of field. Okay, all right,
I'm following that.
Speaker 3 (14:37):
And then you're you have what they used to call
on film, it's as h we call it your ISO. Okay,
that's I mean, most people know what an ISOO is.
Speaker 2 (14:49):
I don't.
Speaker 3 (14:50):
It's like it's how much light you're bringing in so
night time, the bigger the number, the more the light
that's going.
Speaker 2 (14:59):
To be, like, because it's going to be darker outside
and you need yeah, you need more like comingho.
Speaker 3 (15:05):
Okay, if you have I have a roll of film
that it's thirty two hundred ISO, So you want that
on night shoots.
Speaker 2 (15:12):
Because it's dark. Okay, that makes sense.
Speaker 3 (15:15):
You want something like one hundred two hundred ISO like
the sunny day that we have right now here in Texas.
Speaker 2 (15:22):
You want that's what you want, otherwise it'll be all
watched out. Okay, all right, I'm following this. So back
to the double exposure. Can you do a double exposure
on a digital camera or is it just for film cameras?
And how does that work? How do you do a
digital exposure or I mean a digital a double exposure.
(15:44):
Nowadays it's just photoshop.
Speaker 3 (15:47):
You just take two different pictures, you put them in
photoshop or your favorite editing whatever, you know, image editing app,
and you just it's the opacity. You just go and say,
I want this picture to be slightly more transparent.
Speaker 2 (16:06):
Okay, all right, well that makes sense.
Speaker 3 (16:08):
You can also like easily just go over. I could
take a picture of you now, have a picture of
Jacob's ladder cut you out put you at Jacob slowder
on digital photography. And I've seen stuff like that online
a little bit. I don't play with it at all
because I don't understand it.
Speaker 2 (16:25):
But it's like, I know, there's like some there again,
I'm very much some of that magical voodoo.
Speaker 3 (16:30):
You know that.
Speaker 2 (16:31):
It's kind of like we can magically manipulate photos now
digitally in so many different ways.
Speaker 3 (16:37):
Digital photography is the easiest to manipulate. I mean, we
see it every We're so used to it. You look
at movies. Movies are cgi that's literally just digital manipulation
to make a movie. There's your double exposure right there.
Oh okay, something like movies. Okay, I mean Titanic. A
(17:00):
lot of that movie is filmed in a swimming pool.
Speaker 2 (17:03):
Yeah yeah, you would never know that, and you would
never know I had no idea. Wow.
Speaker 3 (17:09):
So I mean we're so it's so normalized for digital photography,
all of the Marvel movies. Yeah, I mean, how many
times has New York been demolished?
Speaker 2 (17:22):
And what if they don't rebuild it really fast?
Speaker 3 (17:27):
That's all dope, It's pretty much that's all double exposure
for the most part.
Speaker 2 (17:31):
We're just so used to it. So how do you
do if you wanted to do a double exposure on film?
What do you do? Do you just like open up
the camera twice or something.
Speaker 3 (17:42):
So there's different ways to do it.
Speaker 2 (17:46):
You can, you know, how you see when you see them.
Speaker 3 (17:50):
You see people like rewinding that not so that's the
almost like a rewind. It's a manual rewind. Okay, So
essentially you take the picture. You can take the full
thirty six at one time.
Speaker 2 (18:04):
Okay.
Speaker 3 (18:06):
I've seen some people go in with sharpie, they set
it up and they mark out like, hey, this is
where it needs to be for the second exposure set okay,
and then they rewind it pull it out because there's
a film more trivial thing. Essentially, it just goes into
the canister. M hm. It's like it looks like a
(18:27):
tongue and it almost like licks it out. Oh, it's
very gross, but yeah, it's a film triet thing and
it nice visual.
Speaker 2 (18:38):
Yeah.
Speaker 3 (18:38):
You put it in there and it looks like it's
looking and it licks it out.
Speaker 2 (18:41):
You look it out. Yeah, so it pulls it out.
Speaker 3 (18:45):
You can put it in your camera, put it to
where all that crossed out sharpie is, and then start
taking pictures again. So basically you reput that same canister.
Speaker 2 (18:57):
And you're just taking another picture over that negative that's
already been exposed. Okay, that's double exposure. Yeah.
Speaker 3 (19:05):
And then the other way is just taking it, rewinding
it one while it's still in the camera, rewind it
one and you can check on the little number and
then just.
Speaker 2 (19:17):
Start taking pictures again. Wow.
Speaker 3 (19:19):
So yeah, there are different ways to do it, but wow,
it also depends on the kind of camera.
Speaker 2 (19:25):
I'm not gonna let you really, yes, And that makes sense.
Speaker 3 (19:28):
Too, because you have large format film camera medium format,
and you also have thirty five millimeter.
Speaker 2 (19:36):
I had no idea about the large format and the
medium format I know about. I have a thirty five million.
Speaker 3 (19:41):
Yeah, so thirty five is the normal, and that's how
most people like prefer to use. Yeah, medium format. I
have two of those, and one of those is the
nineteen thirties camera that I have that is so cool,
and it's actually a lot easier to double exposure on that.
Speaker 2 (20:01):
Than it is a thirty five see, and that makes
me think that that older technology, it sounds like it
was pretty darn easy.
Speaker 3 (20:09):
It's so simplest. I've done it a few times on purpose
because I was I mean, I've used those. There's not
as many options when it comes to medium format film, okay,
So I just I was like, that's when one of
those days I got bored, I had nothing better to
do with my life, and I was like, whatever, let's go,
(20:30):
let's just go waste experiment. I was like, let's just
waste a you know, twelve dollars roll of film just
to go experiment.
Speaker 2 (20:38):
Film's expensive now because there's not a well, I mean,
it's not used very much anymore.
Speaker 3 (20:44):
Surprisingly it's making a comeback, is it really? I'm seeing
more and more people use it, and they have a
tendency of getting more excited over a thirty five millimeter
photo shoot than a digital.
Speaker 2 (21:00):
One, really, because you can't see the pictures right away,
and that's gotta be tough for people.
Speaker 4 (21:06):
Now.
Speaker 3 (21:07):
Yeah, I ended up doing a photo shoot with Debbie.
It was a retro runaway and so they had this
whole event and it was at Lee Lockwood, and that
was one of the requests he asked me to do
was to do thirty five millimeter.
Speaker 2 (21:23):
Pictures because it probably vintage it.
Speaker 3 (21:27):
Looked, and I was like, yeah, and not too long.
It was probably two weeks ago. I was walking around
with my thirty five millimeter camera. I had this family
of four. They got so excited, can you take our pictures?
We'll give you our numbers.
Speaker 2 (21:41):
And so that way you can send us the pictures.
Speaker 3 (21:43):
That were like, we should will pay you like five
ten bucks wow, just to take like one or two
pictures because I was so excited that it was filmed.
Speaker 2 (21:54):
Oh my gosh. Yeah.
Speaker 3 (21:56):
So for whatever reason, it's making a comeback. I love digital.
I mean everybody uses it nowadays. Yeah, and of course,
I mean imagine film is pretty much double of what
you would pay though for digital. Yeah, if you're to
do a full on photo shoot, you're paying.
Speaker 2 (22:16):
Double for the film.
Speaker 3 (22:18):
Wow, it's probably like an additional thirty forty dollars charge.
Speaker 2 (22:21):
Wow, So what, I'm not surprised. So do you do
your own developed?
Speaker 3 (22:27):
Yes? And that's another thing when it comes to ghost photography,
you have to be careful because if you develop your
own film. There again, developing alone is a whole nother beast,
because there are different ways you can develop. You can underdevelop,
(22:48):
you can overdevelop. Some people after they take it's called soup.
Speaker 2 (22:53):
The soup method, the super suit soup. Oh, okay, go
get a ball of soup.
Speaker 3 (22:59):
Okay, yeah, it's called the soup method.
Speaker 2 (23:02):
Okay.
Speaker 3 (23:03):
You take the roll and you put it in a
liquid the whole you submerge the already taking the pictures.
Speaker 2 (23:12):
Already right and.
Speaker 3 (23:16):
In the canister. Now imagine pouring a bowl of big
red and then dropping the canister in the big red
fast wild.
Speaker 2 (23:26):
What does that do?
Speaker 3 (23:28):
It's it basically changes the color. And imagine every film
has its own color like style. So FUJIFILM is gonna
be different from Kodak. They have their own kind of
color style. And then even to like modern day film,
(23:49):
you have phoenix, which is if you do the regular one,
it's more red. Then you have the phoenix too, which
is more of the blue side. So when you drop
it into this quote unquote soup, right, it absorbs that
color and then you essentially have to let it sit
for a while to let the liquid evaporate, so it
(24:11):
takes even longer, and then pull it out and develop it.
Speaker 2 (24:16):
That's wild. I bet it creates some really cool pictures though.
Oh yeah, and you you done this soup method. I'm
not gutsy enough to waste twelve bucks of film. Yeah.
But so if you're developing your own pictures and you've
got the canister, do you just like go into a
dark room?
Speaker 4 (24:34):
And so developing has become easier, okay, a lot easier,
whereas back then you did like you had to have
a dark room with the red light.
Speaker 3 (24:47):
And again this goes back to light exposure and everything else, right,
because the only light that it didn't affect the film
was red light. So that's why when you saw the
movies and everything, it's red light. It's the only light
that doesn't affect it. Nowadays, you can have a dark
bag and imagine like a T shirt. Okay, but you
(25:10):
can't put your head through the headhole, so put your
arms in and you're doing everything blind what essentially, So
some people will pre set it, you know, use the
little tongue looker a bullet out and get the first
little like inch or two onto the film spool. Some
(25:33):
people like me, I just I can just you get
used to how it feels.
Speaker 2 (25:37):
Okay, so you just.
Speaker 3 (25:38):
Literally threw everything in that dark bag, including the Patterson
tank if you have one of those, you put everything
in there, zip it up, make sure it's nice and clothes,
and you're just filling by hand, so you're you're not
even seeing what you're doing.
Speaker 2 (25:53):
That's crazy.
Speaker 3 (25:54):
Some people do have dark rooms and you know, have
that luxury. Yeah, but uh, I don't know that luxury.
Speaker 2 (26:02):
Yeah, it's hard because you have to set an entire
room aside and make sure it's completely light free. Yeah.
Speaker 3 (26:10):
Yeah, it's I mean even something as simple as the doorway,
like the little gap under your door matters, So you
have to get a towel or something to put underneath.
Speaker 2 (26:22):
That because that could actually I think of something like
that light leak. Yeah, where even on film camera it
sounds like, Oh, I'm taking I'm on a paranormal investigation
and I'm taking some pictures. And if I'm developing my
own film and there's light leak, it could look like
a you know, a spirit or something.
Speaker 3 (26:43):
Yeah, and I do have I honestly probably could show
you right now because I have my computer. About if
little stuff changes everything. Yeah, even something as simple as
an X ray. An X ray affects film, even if
it's unexposed. Hasn't You've never taken pictures And I only
(27:05):
know this because.
Speaker 2 (27:05):
I've done it again.
Speaker 3 (27:07):
I was like, I'm gonna waste nine roles of film,
and that's okay because it's Mexico. Coulse this one. When
I went to Mexico. It's like, I'm gonna try it.
I'm gonna sacrifice it.
Speaker 2 (27:17):
Yeah. Yeah, So it's even.
Speaker 3 (27:19):
Something as simple as an X ray will affect your images.
Speaker 2 (27:23):
So like if you're in the room and there's an
X ray, so.
Speaker 3 (27:26):
Like because you know how like airports and you have
oh and you have to get your lucky Yes, you're
getting scanned through TSA or TSA or if you're going
full country, your luggage is getting scanned, getting your film X.
Speaker 2 (27:43):
Ray affects it.
Speaker 3 (27:44):
Okay, So if you're wanting to go for that effect,
then go for it.
Speaker 2 (27:50):
It's great. But if not, it's not.
Speaker 3 (27:54):
Recommendation is put it in a plastic baggie, requests the
hand check and then you're good.
Speaker 2 (28:00):
That's a that's a big tip. I mean it's huge because, yeah,
if you're wanting to go off on a ghost unt
in some other state or something and you're using film.
Speaker 3 (28:09):
Which my recommendation is, always used film on a ghost time.
Speaker 2 (28:13):
That was my next question, Always use film, and the
reason being probably because of what the negative that you have.
Speaker 3 (28:20):
The negative, so the negative alone is again it's just
harder to manipulate a film negative because you have it's
so many added extra steps. You have to digitize it.
You have to pull it in a program to then
turn it in the negative into a positive. So if
you I pay for a program that allows me to
(28:41):
switch it, but you can. It stores all of your
digitized negatives, so I can then revert it back to
a digital negative so you can see the original photo.
And that was one of those pictures that sent through.
Speaker 2 (28:58):
The group chat.
Speaker 3 (28:59):
Yeah, that was one of the digitized negatives. So I
did nothing to it. All I did was pull it
from that program and then sent.
Speaker 2 (29:07):
It to you. All that was the craziest picture. We
could not make heads or tails. It looked like there
was somebody standing in the background from a different era,
you know. It's like sometimes time portal or something. I
don't know what it was, Yeah, I don't know.
Speaker 3 (29:21):
And it's funny, honestly, because that camera came from the
nineteen fifties. It's in nineteen fifties camera.
Speaker 2 (29:27):
Seriously, yeah, seriously.
Speaker 3 (29:31):
And it's funny when you look at it, it looks
roughly from that time period.
Speaker 2 (29:35):
Yeah, because it looked like in the background there was
people or somebody that was from the sixties or something.
It was crazy. It was the craziest picture, I mean.
Speaker 3 (29:46):
And it's just again one of those things that I
even pulled the negative as soon as I sent it
to you on your saying something like I pulled the negative.
Speaker 2 (29:55):
Because I thought I was going crazy.
Speaker 3 (29:57):
Yeah, And I have that negative out individually and separated
from the rest. It's still in the same little page
of it, so you can see the full like.
Speaker 2 (30:08):
Thirty six photos, but it's on its own. Wow.
Speaker 3 (30:12):
And I pulled it out and I held it up
to that and I was like, yep, nope, it's it's there.
Speaker 2 (30:17):
It was so strange. Yeah, and all of the other
pictures on the role were fined.
Speaker 3 (30:22):
Yeah no, and again it's I archive all of my photos,
which is the smartest thing to do if you're doing
ghost hunting is to archive. I would say, create a
separate binder from like other projects, that's specifically for that
if you're gonna do if you know, you're gonna do
(30:42):
quite a few of those, right, just so that way
they people know it's not like some you're pulling some
random right, and you can be like, no, it's this binder.
You go grab it and you can start looking through it.
So that way they're the ones physically grabbing the binder
and it's not like it's you trying to.
Speaker 2 (30:59):
Pull a fast one. You're not pulling a mumbler. Yeah yeah, yeah,
well well yeah, I'll have to Yeah, that's still in
our group chat. I'm gonna have to put that up
on the socials and let people take a look at that.
It's a strange picture. I can't even really describe it.
Speaker 3 (31:14):
I have it too, I mean, like I still have
the negative. So if you want if yeah, a cell
phone picture of the negative, Yeah, up to one of
the window panes on my house, so that way they
can see it.
Speaker 2 (31:28):
Yeah, I'm sending the negative too, because that would be
really cool and that way people can see what we're
talking about. But it was a really strange picture. We
were all scratching our heads.
Speaker 3 (31:36):
It's and that's why I just I personally love film
when it comes to ghosts. It's just it's hard to manipulate.
There's I mean, you can manipulate digital all you want. Yeah,
negative film negative can't do it.
Speaker 2 (31:53):
No, No. I and I have like, well, I've got like,
I think, one little film camera that I occasionally take
on investigations, but I haven't taken it in a long
long time. So I'm going to be bringing it more now.
Speaker 3 (32:08):
I want to take mine to I don't know, I
don't know where I want to go, but I want
to test it.
Speaker 2 (32:15):
Well, we'll have to, like I take it someplace and
test it.
Speaker 3 (32:18):
And I do have three or four that are the
exact same brand body make like they're all the same,
so it's easy just to you know, line them all up,
knowing that they're all the same, make model in a line,
get the same exact role because I I'm a little excessive.
(32:39):
I have a close to fifty sixty year rolls of film.
Speaker 2 (32:43):
Cool and some of them, like, well, most of them
are the same.
Speaker 3 (32:46):
I would say probably probably like twenty to thirty are
the same. They're all fujifilm. So you can just all
put fujifilm on the same those cameras and then do
some triangulating.
Speaker 2 (32:57):
Yeah, see if they all catch the same image or
similar or depending on where they're sitting.
Speaker 3 (33:04):
I love that, and you know that when it comes
to ghost photography and stuff like that, if you get
the same camera, make model get the same film you
put them on and just to see, like who knows,
if we're sitting across from each other like we are
now in a room, it'll be interesting to see if
I catch something. And then if Robbie's sending sitting next
(33:27):
over there and he's also facing a camera towards you,
to see if he catches it. Yeah, if they're all
in a line, it's like who got this like apparition
and who didn't, And then number them so that way
we know exactly who was who. It's like Cindy's gonna
be camera one, Allie's gonna be camera two, Robbie's three,
(33:49):
so that way, and you number the even number the canisters.
Speaker 2 (33:53):
This is like an experiment that you're setting up. Yes, yes,
we need to do Yeah, so we should. I maybe
go out to the palace and do that at the palace.
That would be really cool. I didn't know that you
have these three different cameras. That would be such a
fun thing to do.
Speaker 3 (34:11):
And it's it's interesting because you never know even if
you take something from that time period, maybe it triggers.
Speaker 2 (34:18):
It doubles it.
Speaker 3 (34:21):
Does I see what you did there, double exposure, exposure double.
Speaker 2 (34:32):
That would be so fun. We need to do that.
We need to get the gang together and you go
out there.
Speaker 3 (34:37):
And do this.
Speaker 2 (34:40):
It's just little stuff like that, but it's really cool.
And I mean, you bring up a really good point
about triangulation because whether or not, you know, I bring
my phone or a digital camera on investigations, I almost
everybody does. But you make such a great point on triangulation.
And you know, even if there there's not other cameras there,
(35:01):
it's like you know that whatever's happening is going to
be more credible if somebody's going, oh, look, I see
a ghost standing over there in the corner, and somebody
snaps the picture and gets a ghostly image, and somebody's
got a recorder going and gets an EVP, and somebody's
EMF meter is going off. You know. The more information
(35:22):
you can get about whatever seems to be going on,
I think, the more credible it is.
Speaker 3 (35:28):
Yes, And I would also say, never fully trust one person,
So like it's one of those things that would that
be something I would be fully comfortable developing the film, Yes,
But should I be the one person developing it, Probably not,
because it's one of those I'm slightly too close to
(35:50):
the situation.
Speaker 2 (35:51):
But I could.
Speaker 3 (35:53):
Yeah.
Speaker 2 (35:53):
But also even if I were to.
Speaker 3 (35:55):
Develop the film, I'd be like, dude, I need at
least I need a either record myself.
Speaker 2 (36:01):
So that way y'all see that I'm not pulling any
You're not pulling a bumbler. Yeah, I'm not.
Speaker 3 (36:07):
Or there's some people here in town that I know
that develop film, and so it's just finding even a
credible place that develops film.
Speaker 2 (36:17):
Well, And I mean yeah, and I think that's important too.
If you find a credible place and you don't tell
them what it's for, you know, it's just like, hey, here,
just develop this and they don't come in with this
preconceived notion that, oh they're wanting a ghost on the
film or whatever, let's make that happen. Yeah type thing.
Speaker 3 (36:38):
Again, you just have to know people. You send them
in and they're gonna be honest. It's like, hey, I
don't know what these are used for, but they're all
black or like there's nothing on them.
Speaker 2 (36:49):
Do you want them or do you just want us
to trash room?
Speaker 3 (36:51):
So it's just it's an easy kind of one of
those they're going to give you an honest yeah, quote
unquote opinion of what happened, if anything actually got developed.
Speaker 2 (37:03):
Yeah, because they don't know what you're looking for. So
I think that's that's really important. So boy, after this,
I'm going to be taking my film camera on every investigation.
Oh yeah, yeah, I'm going to go home and I'm
going to like pull out that little thing and see
if it's still working and get some film. And you
(37:24):
can order film on Amazon right. Yes.
Speaker 3 (37:27):
Also Walmart has some really Walmart is now selling I
will say it's twenty eight.
Speaker 2 (37:34):
Dollars for a pack of three out food ouch. Yeah,
So I mean it's a little uh, you know, you
want to use it sparingly. Yeah.
Speaker 3 (37:45):
And then mc art Supplies, which is on Washington, Okay
for all of you little wacou people. Yeahh So mc
art supplies sells film. They sell both black and white
and color film. Black and white's the cheapest. Okay, It'll
be like, it's still a little bit pricey, but not
(38:07):
too bad. It's anywhere from five to ten bucks sometimes more.
Speaker 2 (38:12):
Okay, wonderle that's still a little pricey. But I mean, hey,
you know, it's not like you're going to be using
a whole bunch of it or.
Speaker 3 (38:19):
You could just you know, if you go on ghost
investigation borrow from my fifty sixty film canisters that I have.
Speaker 2 (38:26):
People might hit you up. They'll be like Alison, And then.
Speaker 3 (38:30):
At that point I be like, Okay, for close friends
and family, it.
Speaker 2 (38:33):
Is for you it is I'm charging to a park up,
you're going to pay. But yeah, film cameras, it sounds
like that is that is the way to go. But
I also wanted to talk a little bit let's see
how we're doing on dime here. I wanted to talk
a little bit about digital photographic anomalies because I have
(38:56):
kind of a joke that if I had a dollar
for every orb picture that somebody sent me, I would
be a rich woman. So the orbs, the light streaks,
the you know, the vapor, and I've had people say, oh,
(39:16):
it's a vortex, and I'm like, well, how do you
know it's a vortex. I don't say this out loud,
but it's like, you don't know that that's a vortex.
All I'm seeing is this light anomaly. So in order
for a camera, I'm thinking this, and you let me know,
in order for a camera to capture an image, whether
it's digital or film, it has to be something that
(39:37):
light is reflecting off of in the environment. Is that true?
Speaker 3 (39:44):
Yes?
Speaker 2 (39:45):
Okay? And so when it comes to these light anomalies,
how likely do you think they're a ghost or do
you think it's something in the environment natural? And what
could that be?
Speaker 3 (39:58):
So imagine the camera lens as your eyeball. Okay, that's
pretty much what you're looking at. And if I mean,
you see light reflections and refractions all the time with
your normal eye, right, So that's.
Speaker 2 (40:14):
Pretty much what a camera is. It's just a magnified eyeball.
It's a mechanical eyebil. Yeah, and yes, there's tons of ways.
Speaker 3 (40:24):
It's again, it's a type of method that are a
technique that's used in photography. You see a lot with
like the light rays going across somebody's face and you
know they're they're the center of the subject, and yet
they have just to show that they're shining and stuff
like that. Got it, So, yes, there is techniques to
(40:46):
use that to your advantage. MH. You have to be
very careful and very aware because if you're inside and
you're taking one next to a computer, the computer light's
gonna reflect off of your face if you get it
at the perfect angle, or if you're next to a window,
the sunlight, the street lights, if there's a lot to
(41:09):
look at. Mm. If you're in a pitch black room
and you still see it, then it's a little bit
more credible.
Speaker 2 (41:18):
That makes sense.
Speaker 3 (41:20):
But you also have to think of dust, Yeah, dust
fuzzies from your shirts, your bunkets, hairballs from your pets,
if you have pets, because imagine the.
Speaker 2 (41:33):
Like they should. Yeah, they do. So it's it could
be countless things.
Speaker 3 (41:38):
And you have to be aware of the environment, yeah,
of what's around you, because that affects a lot.
Speaker 2 (41:44):
And yes, if you get it at the right angle,
that hairball, it becomes a ghost. Yeah, it could be.
Speaker 3 (41:53):
Catching the fan the fan, you know, the wind that
the fan creates perfectly, and it's now.
Speaker 2 (41:59):
Blowing nearly in the air, and you're like, oh my god,
look at that. Oh ghost. Yeah, okay, And that makes
total sense because I I'm always really skeptical of any
kind of orb at all. The dust too.
Speaker 3 (42:17):
I mean I said dust, but also like I say
dust and like dirt, yeah, outside, like obviously dirt and
all that's gonna affect it.
Speaker 2 (42:25):
Yeah, so well, and I look at that too, because
a lot of times when we go ghost hunting, it's
not in this nice clean building. They're in these dirty,
dusty old buildings and attics and basements. And yeah, there's
just so many environmental things. There's a lot that it
(42:46):
could be. So sorry, I'm it's time for my early
it's early morning, map, I've only been up for five hours.
Had even that. Yeah, it's sorry, time for my neck.
Sounds good though, I agree for that time. But but yeah,
(43:06):
and so so many people, and I think a lot
of times they just want to see a ghost so bad,
and they automatically just say okay, this is proof. This
is proof of something you know happening. And you know,
(43:27):
I look at it. When I think of orbs, I
think of are you because I know that the camera
picks up things that your eyes do not, and vice
versa when you're in a situation. So I've always kind
of gone at it with orbs of if you're seeing
it with your eyes, I think that's a little more
(43:49):
credible because I'm thinking there's something actually in the environment
that you're picking up and seeing. But if you capture
orbs with your camera, could it be something paranormal?
Speaker 3 (44:02):
Maybe?
Speaker 2 (44:02):
But my gosh, there are so many other natural possibilities.
Speaker 3 (44:08):
Yes, there are other filters. I mean, you have infrared,
which is what game cams use. I mean we use
that all the time for ghost hunting, So.
Speaker 2 (44:19):
You have do you have infrared?
Speaker 3 (44:22):
There are some other filters, even for like digital photography
that is now becoming a thing. You have an UV
filter that you can put on a flash.
Speaker 2 (44:32):
I don't know, this cool. So they're starting to come
out with that kind of thing. They're also coming out
with infrared.
Speaker 3 (44:41):
Filters as well, whether that's on the flash or physically
put onto a camera lens that you can use.
Speaker 2 (44:50):
I know, something like.
Speaker 3 (44:51):
A GoPro has a sensor in it that doesn't allow
it to see infrared. So some people I know will
go in and like tinker with their GoPro, tinker, I mean,
take it apart and find a way to get rid
of it.
Speaker 2 (45:08):
So yeah, there's that. Okay, So with infrared and ultraviolet light.
Speaker 3 (45:17):
On?
Speaker 2 (45:17):
Can you do that with film cameras? So? I think so.
Speaker 3 (45:23):
Again, it's a filter that you would have to use.
I think it's either the one you have to put
on the lens or with the flash. So if you
have a flash, then yes, okay. Essentially, because it's nothing
but mirrors and it's just a different form of light,
you're just that's pretty much what you're doing. You're tinkering
(45:44):
with the light source that the camera has to pick up.
And the camera, especially film cameras.
Speaker 2 (45:51):
Are mirrors.
Speaker 3 (45:51):
They use mirrors, so you're you're messing with the light
source and then you're using mirrors to capture that light.
Speaker 2 (46:00):
So essentially, yes, you can use it. Sounds a little
more complicated though, And then I don't know if you
have you heard about the full spectrum cameras. Yes, for
for ghost hunting, and the theory about those goes that, Oh,
because supposedly it's capturing the full spectrum from infrared to
ultra violet anywhere in between, it gives you a greater
(46:23):
chance of getting a legit ghost photograph. What do you
think about that? Do you think yay or nay?
Speaker 3 (46:32):
I think depending on what it's being used for, Okay,
I mean some like some people like us that are
genuinely doing it, as I guess.
Speaker 2 (46:47):
Quote unquote profession Yeah, I'll go with that. Yeah, for
professional ghost hunters.
Speaker 3 (46:52):
It's I mean I would say probably it's just also
you have certain quote unquote professionals using it, and uh yeah,
we see how.
Speaker 2 (47:04):
That works out. Professionals on TV quote unquote yeah, yeah, yeah,
those professionals that we always like to make fun of.
Those people, Yeah, those adventurers. Okay, yeah. And because I
wonder about that, because I at one time had I
(47:26):
still might have it. I needed to dig through my
ghost honey equipment, I still might have that full spectrum camera.
I've never caught anything on it. I've never really caught
a photographic anomaly that I thought was like, oh, yeah,
this is a ghost. I mean, so I kind of
(47:46):
maybe want to kind of end there, see what time
it is. Oh yeah, we should probably wrap them. So
you know, what do you think about what would if
you be in this professional photographer, what would make you
think this is an ghost? I've captured something paranormal on
my on my camera or my video. What would what
(48:08):
would it take to convince you?
Speaker 3 (48:10):
I think always get second opinions. And that's why even
with that one picture, I looked at it, I was like, what,
there's no way, there's no like I was getting excited.
I was like, no, no, no consent.
Speaker 2 (48:28):
I was like, it was a crazy picture though. It's
one of those things you and yes, we will be
posting it. Everybody's like, what picture? What picture?
Speaker 3 (48:37):
Yeah? Yeah, so I will say make sure again we've
talked about this, but make sure you're part of a credible,
good group of Yes, your team is good, they're credible,
they're worth, They're gonna be.
Speaker 2 (48:51):
Very blant and I'm very honest.
Speaker 3 (48:52):
Yeah, And because stuff, when stuff like that happens, you
can send it to that group like I did and
say I'm getting a little too excited, I need opinions.
Why do you think you just give them bare minimum?
And then when you like, y'all did y'all start asking
it's like where was this?
Speaker 2 (49:13):
I see this?
Speaker 3 (49:14):
Then at that point you can give them like oh
I was with my husband like in this moment room. Yeah,
you can start to give little details. And then because
in that kind of credits of where where the photo
was taken, what was taken And in this scenario, we
were actually outside see.
Speaker 2 (49:36):
And that's wild because it looks like suspension bridge. That
is crazy because this well there again, we'll just we'll
post the picture, y'all. It looked like you were like
standing in front of a window with an elevator inside
a building. And it's crazy. I mean so not the
suspension bridge at all.
Speaker 3 (49:56):
So the east would go off m h, I was
others out of the road and then taking picture of
this is pitching bridge. So that was literally the only
the closest voting to.
Speaker 2 (50:06):
Us and you are across the street from it.
Speaker 3 (50:08):
Yeah. No, we were on the other corner, not even
next to it, on the other corner. And you look
at the windows. There's no writing whatsoever on those windows.
Speaker 2 (50:17):
No, no, and there was writing on the windows in
this photograph. It is the craziest photograph. I can't make
heads or tails of it. I don't know either.
Speaker 3 (50:26):
It is it's crazy, but stuff like that, you start
to give details, and then when everyone kind of figures out,
like all the information and they're piecing it together, it
makes it more, it makes it worthwhile, it makes it
more credible.
Speaker 2 (50:44):
Well, and the thing is too, is you know, all
of us were stumped with this photograph, and if we
posted on the socials, you know, maybe somebody, maybe some
of y'all might be able to see it and go,
wait a minute, I recognize that place, or I recognize
that right, I recognize where this was taken and provide
(51:04):
even more information or say, oh gosh, this would be cool,
creepy cool, But it's like, oh gosh, yeah, that's the
elevator from the such and such building that was destroyed
in the tornado in nineteen fifty three. You know, something
like that. I'm getting goosebumps just thinking about it. But
something like that where it's kind of like, if you
can get this verification outside verification and you're absolutely right, yeah,
(51:31):
it's kind of like, yeah, send it to people blind.
You know, what do you think what's going on here?
Or like like you said, with the photography, the film developers.
Don't tell people, don't give people too much information, and
don't make these assumptions. Don't automatic. I mean, yes, it's
really exciting when you get an anomalous photo. I mean
(51:53):
it's really cool, but don't get too excited and don't
jump to conclusions too quickly because you know there could
be a natural explanation. And I mean, yeah, that kind
of is like a downer. But but then sometimes you'll
get something crazy and unexplainable.
Speaker 3 (52:14):
I will say, the easiest way to if you want
to do film photography, that's almost cuts out the middleman.
You can do polaroids.
Speaker 2 (52:25):
Oh okay, so.
Speaker 3 (52:29):
Again it's a little bit. I mean it again ups
and downs. It comes with its red flags, but but.
Speaker 2 (52:40):
I would think that those would be more still more
difficult to manipulate.
Speaker 3 (52:45):
It is, and that's why I say, if you're someone
that's wanting to try a method that potentially has a polaroid,
that is an easy way to do that. And our
favorite you know people also do that, so the adventurers. Yeah,
so it's again easy. You put it. You grab a
(53:08):
sharpie on the back and you write it or even
on the bottom that extra bottom. You date it and
put the location.
Speaker 2 (53:18):
That makes sense. Something as simple as that, it's.
Speaker 3 (53:20):
Again slightly harder to uh manipulate, and it quote unquote
develops written.
Speaker 2 (53:29):
In there, so you have almost an immediate response.
Speaker 3 (53:34):
And I've seen that technique used before in ghost hunts.
I've seen worth even getting a bulb flash and getting
a picture. I've seen that technique used before, So it's possible.
Speaker 2 (53:48):
That's cool. I didn't even that well, you know, yeah,
I didn't even think about the little polaroid cameras, and
I know that those have become kind of more popular
again too. Yes, so yeah, anything aside from digital, and
I mean I or maybe maybe in addition to digital.
You know, okay, we're we're in a ghost hunt, and
(54:09):
we've got our phones because everybody's using their phones. Now,
we've got our phones, and we got some digital or
a digital camera or two, and we've got the film cameras.
So if the film cameras are picking up with the
digital cameras are picking up or vice versa, then then
there again I think it just maybe just yeah, it
all just comes back to triangulation and with people different
(54:31):
eyes on it, and then then you can say, okay, yeah,
something really strange.
Speaker 3 (54:38):
Is going on here, and it like you said, I mean,
it's what it's great. You can try different techniques, different
methods and what do you get. It's one of those
what do you kind of get things?
Speaker 2 (54:50):
What are we going to get?
Speaker 3 (54:51):
Yeah? Who what are we going to catch?
Speaker 2 (54:53):
It's exciting. But I do think that, you know, there's
definitely a place for photography and definitely a place for
video in ghost hunting. And I mean even with all
of the ease of manipulation with software and and whatnot
and and all of that, you.
Speaker 3 (55:12):
Know, it would be a fun place to try to
eat outside of the theater.
Speaker 2 (55:17):
What was that the Liberty Hotel? That would also be
a really cool place to try that out.
Speaker 3 (55:23):
That would.
Speaker 2 (55:25):
The one in Cleburn. Yeah, hey, Georgina, don't you know
folks at the Liberty. That would be really fun, especially
on that one room on the what was it the
fourth floor getting Yeah, the third or fourth floor where
it was getting all the catball activity. That was a
crazy room.
Speaker 3 (55:45):
I know.
Speaker 2 (55:45):
Yeah, you're like, no, thank you, no, but you're right, no,
I yeah, we're gonna have to like pitch in. We'll
pitch in and buy some film, you know. I don't
want you to use all your your roles of film, but.
Speaker 3 (56:00):
I'd be glad to use all my prom I don't know,
but still, you know you get a collection of gadgets
and gizmos and things.
Speaker 2 (56:08):
Yeah, well you know that's expensive. But yeah, we're gonna
have to do some experimentation with your cameras. I didn't
know that you had like three identical cameras. I shouldn't
be surprised by this because you're a photographer, but yeah,
that would be super cool.
Speaker 3 (56:24):
I do Also, if you're film photographer, goes gonna be
using this on, go make sure it is if you can,
the phone that's in it, Make sure it's refurbished, because
even if the phone that lines even the back, if
that wears down enough, that'll.
Speaker 2 (56:44):
Cause light leaks.
Speaker 3 (56:45):
Oh good.
Speaker 2 (56:46):
Yeah, even if it's one of.
Speaker 3 (56:49):
Those interchangeable lenses, the phone that's there to protect it,
if that wears down, that'll cause light leaks as well. Okay, Luckily,
none of my case, I don't have any of those issues.
Good so, but I know that a lot of people
have issues like that, and that is a thing. Okay,
(57:10):
So make sure that that the phone strips are good
enough for it to not cause light weeks.
Speaker 2 (57:17):
So if you have your film camera and you take
some pictures and it looks like there's there's ghosts in there,
make sure it's not just bad phone. Another good tips,
so many good tips. I love it. See I knew
you'd like have all these really great things to say
about this particular episode. And I mean, for me, I'm
(57:38):
just I'm definitely one of those people that just point
and shoot, you know, whether it's a film camera or
whether it's a phone or a digital camera or whatever.
Speaker 3 (57:47):
And so I mean even point and shoot film cameras
are really amazing, because again, how are you how are
you used to post like you're just like, oh, let
me just take it, hit the button.
Speaker 2 (58:03):
And that's me. I'm expecting the toada.
Speaker 3 (58:09):
That's just some people. And I love those sporting point
and shoots. Yeah, so those are great. If you're in Wico.
The best place that has film cameras is Central Goods.
Speaker 2 (58:20):
Really, yes, I didn't even think.
Speaker 3 (58:24):
Oh it is owned by Zach and Kate. Fabulous couple. Okay,
I love them, love them to death, but yes, they
are the ones. It's an antique shop.
Speaker 2 (58:34):
I was gonna say it's a little antique shop. It's great.
I would not say it's kind of a duh, but
I wouldn't think to look to buy cameras there.
Speaker 3 (58:42):
Yes, so if you're in town, that's a great spot.
And if you want to find good quality cameras that
are worth buying, that's a place to go.
Speaker 2 (58:54):
I might have to take a trip to Central Goods.
You forgot me excited. I need to like get another
film camera.
Speaker 3 (59:00):
I know, and there's one that I've woke. Keven kind
of wanted to buy from there and I just haven't.
Speaker 2 (59:08):
It is it like an older one?
Speaker 3 (59:11):
I mean it's a point in shoot. I don't technically
don't have a point in shoot yet a film camera
all the minor the complicated ones, which means if we
try that experiment, I might be the one telling y'all how.
Speaker 2 (59:24):
To set the camera up. Well, yeah, but in education manually.
Speaker 3 (59:29):
Doing it, so I'm not the one setting it up,
so I'm not gimmicking.
Speaker 2 (59:33):
You're not mumble rane, yeah, but you don't get this though,
I have. I know that my film camera is a
point and shoot. It's like from the nineties, so it's old. Thanks, Yeah,
I don't know. Maybe it's got that PHAM issue going on.
I haven't taken pictures with it in ages.
Speaker 3 (59:53):
I could not tell you anything about eight point and
shoot thirty five. Yeah, all online or the fancy fancy
ones where it's the interchangeable ones is.
Speaker 2 (01:00:06):
So that's how I know about the film issue. Yeah. Yeah,
well you know you're a photographers, so yeah, I like
to make over complicate my life. Yeah, but your photographs
are beautiful. Yeah, and for people your ARC productions, right, yes, okay,
Arc Productions, Arc Productions, everyone photography great.
Speaker 3 (01:00:30):
And I do have film photos on my social media,
so that's another thing that I need to send you
just so that way, yes, people can kind of see
what normally comes out and what can be produced from
a film camera.
Speaker 2 (01:00:46):
Yeah, we need to post this on our socials because
you know, film versus digital and definitely that weird picture
and if you could, you know, we could post the
negative because that way people can get an idea of
what except we're talking about.
Speaker 3 (01:01:01):
Yeah, and it's you know, I mean again, you can
get good at it and make a film picture look digital.
Speaker 2 (01:01:09):
But yes, it's.
Speaker 3 (01:01:11):
Again it's just learning and growing. But most film pictures
you'll be able to definitely do.
Speaker 2 (01:01:17):
Yeah. So cool. Alrighty, well, I think yeah, we should
probably wrap it up a little over time. But that's okay,
this has been really interesting. I don't want to go
out and take pictures now.
Speaker 3 (01:01:29):
Okay, maybe we can have a depending on what you're doing,
have a little fun experiment at the Doctor Pepper Museum.
Speaker 2 (01:01:37):
I still haven't tried that experiment. By the way, I'm
wiggling my fingers in glee. Yeah, because I think.
Speaker 3 (01:01:43):
The last time we did the Doctor Pepper episode and
I said.
Speaker 2 (01:01:46):
Oh, might go in, and then I never did. You
never went into the to the museum to get pictures,
even though I was like, oh, I.
Speaker 3 (01:01:53):
Might go do that.
Speaker 2 (01:01:54):
Oh yeah, I never did. I was gonna say, I've
got the connections at the Doctor Pepper Museum.
Speaker 3 (01:02:00):
I never went in after that, and I was like, eh,
I'm too tired.
Speaker 2 (01:02:03):
Yeah, well we can we can remedy that. I know people,
we could definitely remedy. That would be fun. That would
be really fun.
Speaker 3 (01:02:12):
Don't they have the paranormal tour?
Speaker 2 (01:02:13):
Yeah, they do have a paranormal tour. I used run
the pace to tonight. They do, but they're usually sold out.
You have to like book them weeks in advance. Well,
all I'm saying is that, well, we can work something out.
I know people at the Doctor Pepper Museum. So yeah,
(01:02:34):
Alson's getting all excited now, yeah, yeah, we can work
something out because that would be a fun thing to do, definitely.
Speaker 3 (01:02:42):
Well yeah, okay, there.
Speaker 2 (01:02:44):
Goes my life. Yeah, I can goot pictures now, yeah,
I ghost pictures. Okay, Well, probably time to wrap up.
This has been super interesting and we'll see you next time. Goodbye, everybody, Bye.
Speaker 1 (01:03:01):
This has been spooky a paranormal podcast.
Speaker 2 (01:03:04):
We hope today's episode since shiver us down your spine
and sparked your curiosity about all things ghostly. If you've
enjoyed what you've heard, don't forget to subscribe and leave
a review on your favorite podcast platform. You can also
catch us on Facebook and Instagram. Until next time, stay curious,
stay vigilant, and
Speaker 1 (01:03:24):
Never be afraid to explore the shadows.
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