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The Wingham Advance-Times, 1983-04-13, Page 18Page 2—Crossroads—April 13, 1983 :FJ fM1 :rN.'k'ac,•:s:�x. *ofi'•��:::cw:.:;nr:., ,: r,`'"�.'>:v. ."���i::i HOT SHOT—I took this shot in a galvanizing facility. The heat waves rising from the molten zinc nearly obscures the crane operator. A zoom lens was used to put some distance between all that heat and the photographer. (CNS Photo by Holt Confer) Common answers to uncommon situations By HOLT CONFER Several weeks ago I completed a 5,000 -mile trip that took 'me to Jackson- ville, Orlando and Tampa, Fla., Bayou La Batre, Ala., and_Dallas. "`I .needed to carr ria good bit of film 'with "`me. and while I wasn't too con- cerned with the film in my camera bag • getting too warm, there was a real danger of overheating. to any film left in my car for prolonged periods — parked in the sun. • Even parked in the shade, the daytime tem- peratures inside an auto- mobile can get a lot higher than film should be sub- jected to. The answer is easy — buy yourself a cool- er. Each night (or each morning) put your film on ice. Now it may look strange icing down several plastic bags of film — the plastic bags keep the boxes dry — in fact, I often got comments about my activi- ty by other folks who were waiting their turn at the ice machine. Pay no atten- tion to those who would cast ridicule in your direc- tion. A well -insulated cool- er will keep your film com- fortably within its "safe" range all day long. Somebody asked me the other day if it was neces- sary to carry a tripod on a trip. It depends on what type of pictures you intend to take. But if you have room for a tripod, since you don't have to buy it Big Macs or register it as an extra person at the motel. you might as well take it with you. Most night shots are im- possible without some type of camera support, and even scenics done with a stable platform beneath your camera will look bet- ter than thehand-held shots. And not .just because you've eliminated camera movement with your tri- pod. Using a tripod makes you slow down your pic- ture -taking activity to the point where you have time to ask yourself some rather important questions. Are all the camera's controls set properly? — Are theie parts of the seen that need to receive special exposure consider- ation because they are ex- cessively light or dark? . — Is the picture framed properly? — Is the vantage point as good as, it could be, or would the shot work better by moving left, right, back or forward? — Are the horizons straight, or are boats sail- ing uphill and the buildings falling out of the picture? — How about filters: Would a polarizer elimi- nate some glare' and in- crease the color satura- tion? When you hand -hold a camera, it's too easy to step up, peek through the viewfinder and press the shutter without asking yourself questions like that, which would probably improve your results. When you talk about tri- pods, it's not uncommon to conjure up images of cable releases. And while this shutter -pressing mecha- nism appears to be a rather simple accessory. there are some things you need to think about when you use it. First of all, make certain it's fastened tightly to your shutter release button. It only takes a few turns to make a tight connection so don't make any halfhearted attempts at making the fit secure. Second, when you use a cable release, make cer- tain there's a curve in it — should you stretch it tight, chances are you will move the camera when the pic- ture is taken. Keeping a curve in the cable release will take up any inadvert- ent hand movement the moment the shutter is re- leased. One problem that pla- gues many photographers after they return from a trip is remembering the names of all those places they've visited. There are a couple simple solutions. Hotels, motels. visitors centers and local travel agencies are filled with brochures. In fact it's darn near impossible to travel someplace that hasn't been covered in some sort of descriptive brochure. Pick up everything you can re- lating to the area you're photographing — chances are there will be enough al- ready in printto thorough- ly refresh your memory. I carry a little notebook and jot down whatever I need to remember — build- ings streets, people's names, animals. etc. — and relate the notes to the number of the film car- tridge I'm using. My mem- ory is • still keen enough so that if I have a note that I've photographed a wat- tled crane, I don't get the picture confused with the girl in a bikini picking oranges. Your memory should be invaluable in placing a pic- crossroads Published every Wednesday by Wenger Bros Limited as the lifestyle and entertainment section in The Listowel Banner. The Wingham Advance - Times. The Mount Forest Confederate and The Milverton Sun Members of the Canadian Community Newspaper Association Ontario Community Newspaper Association, and the Ontario Press Council Controlled distri- bution in Elmira Palmerston. Harriston Brussels Millbank Newton Atwood. Clifford. Drayton. Wallenstein Moorefield and Arthur Display and Classified advertising deadline — 5 00 p m Thursday week prior to publication date A vertising and Production T Listowel Banner 18 Wallace Ave N P 0 Box 97. Listowel, Ont N4W 3H2 Accounting and Billing The Wingham Advance -Times Josephine St P 0 Box 390 Wingham Ont NOG 2W0 The Listowel Banner 291.1660 The Wingham Advance -Times 357-2320 The Mount Forest Confederate 323.1550 The Milverton Sun 595.8921 Elmira and District News Kim Dadson 669-2690 By REV. LEE TRUMAN How to dig the teen scene If you are a part of the adult culture and you want to understand the youth set, then consider the fol- lowing. The fact is that if an oldster is able to dig the teen scene today, it is be- cause he or she has certain things well in hand. The following is only a partial checklist, with common sense the most important item of all. First, make communica- tion possible. Listen at least twice as much as you speak. As you do both, re- mind yourself often that extremes, trivia and the foolish are a very real part of every youth culture that has ever been. Do not react to these superficial, ever- changing bits of the teen scene, because they will be gone tomorrow. (Because basically I am so square that I have mitered cor- ners, I have to remind myself often of this point.) Be careful not to make sweeping generalizations. To indict all youth because of the few is dishonest. It can only end communica- tion and appeal to emo- tions that block any possi- ble communication. When a whole segment of our population is judged because of the attitude, values or actions of a small minority, this says more about the speaker than the youth. To judge all a®ults- because of the few is equal- ly dishonest. Do not .attack the parts ture, so you are probably safe in just making notes about the technical fea- tures you're not familiar with. Of course, those aren't all the problems associated with traveling and picture - taking, but with a column, I have to dispense informa- tion in small doses. of the teen culture that have meaning to your youth. This alienates quick- ly. If you reject what - is meaningful to them, you have rejected them. They will only respond in kind. When the radio is on and such phrases as, "Turn off that miserable racket," are used, the generation gap has been widened very ef- fectively. Do not make important, long-range decisions for your children that they have to live with. The deci- sions that cost or bear con- sequences they must make for themselves. Help can be offered out of your adult judgment, but we all learned by our own mis- takes. Children are unique indi- viduals and from their viewpoint you do not have all the facts, such as how they feel, believe and dream. There will be far more peace living with the decisions that are made if they help make them. They will also have greater de- termination to see commit- ments through and to prof- it from whatever mistake may be involved, rather than being able to blame it on you. Learn to be patient with their impatience. Not only is impatience the nature of youth; but they have been well schooled with impa- tience from the time they were born into our quick- tempered culture. Do not be afraid to ask questions and make the effort to hear the answers, if you have an honest interest in under- standing. It is a rare youth who will not respond and meet genuine interest with honesty. The difficult, positive thing you can do is to listen to their music. This is hard NET KIDS! LEARN TO DRAW W1111 DANNY COUGHLAN 1. Here's Danny's complete drawing. 2. Finish what Danny started. 3. Now try it yourself! for me because 1 like the other kind of long -hair music. The music- of each generation is an index to the culture values of that generation. It speaks of its concerns, its hopes, its an- gers and its dreams. If you know what the music is saying today, you know what is being reflected in the minds of the youth. It can become an intensely important medium of com- munication. Find out what your teen- agers are reading and do not be afraid: to try some of it yourself. If you can hon- estly talk to them about some article or book, open- ly and frankly, you will find them not only pleased that you have been this concerned about their cul- ture but share the insights that can come no other way. Here is where trust begins. The most positive thing I can offer is to make cer- tain that your home is more than a house. Make it in all senses a sanctuary where no one is judged, at- tacked or condemned. It is a place where all members of the family can come in triumph or defeat, where they can bring their friends, where they can come in victory or dis- grace, knowing even as they do so that they will be loved, accepted and re- spected for the person that you know them to be. If these are observed, you are on the right road. Remember emotions, feel- ings and attitudes in the growing years change quickly. New personalities are tried on just to see how they fit. By keeping the above in mind, you will be closer to doing and saying the right thing than you will the wrong. 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