That's a hazard guys. The most important book in the history of photography, it is, John Mayovitz's, seeing things, a kid's guide to looking at photographs. It shows them the important things in photography. And by looking at these important things, we can get inspired as well. You know, you look through this book and it is a gold mine, a fantastic imagery. You know, look at this. This is, you know, a wonderful picture. You know, this is a photographer called Sally Gow. And here he's talking about light and happiness. What wonderful themes. How can you find a tutorial that's going to teach you about light and happiness? You know, and he says here, and this is what I love also about this book. That is, is broken down in a lovely conversational sort of way. The John Mayovitz says, is people asking all the time, how do I know what to take a picture of? And I answer whatever it is that makes you stop photograph that. He then goes on to explain. With this photograph, Sally Gow shows us how surprising and sculptural laundry can be. Does that not encourage somebody to pick up a camera, to go out and to just photograph the things? It is so refreshing to see ideas and photography broken down into simple, easy to digest and understand statements. They are suggestions. There is nothing in here that says you must do this or you must do that. And you know, this is not technical talk. This is not talking about how you do this and exposures and all this kind of stuff. None of those things exist in this book. It's more about the pure joy of looking at it. You know, here's some Mary Alamard, you know, the man I said. You know, the elephant around his neck and it's the same sort of idea again. You know, he's talking about, you know, the right moment. This is obviously, you know, Cardi Brisson kind of territory, you know, the decisive moment and stuff, but it's broken down for children. It's two pages. It's two pages telling you, telling a child, what they need to know that, you know, the elephant is so magnificent that you might think this is what this photograph is about. John Mive, it goes on to say, you know, when I first saw the picture, I was excited by the physical presence of the elephant in the ways every trunk looped around the trainer's neck. But then he goes on to say that, you know, Mary Alamard was quick to notice the little details, give the picture the, it's grace. And this is where the benefit of learning to actually absorb a photograph comes in. You know, he's talking about the belt, the trainer's hands, the bracelets, also perfectly positioned that they follow the curve, the belt, which echoes the loop of the trunk. Now, these are all the tiny things that when you're looking to improve your photography, are so vital to elevating a little bit, to be aware of these kind of things. So when you go back to basics, with a book like this that is written by a man who has an enthusiastic and infectious passion for photography and a knowledge to pass on, it only can help you better. You know, old friend, William Egelston, he always gets to surface around here on the channel, doesn't he? But here, always using as an example is to say, look as familiar as a bottle of soda is, here it is, presented as a luminous floating double image of itself. And then going on to say that the fact that Egelston stopped to photograph this surprising moment of beauty reminds us to look more carefully to remember the most banal objects, the most commonplace, afternoons, contain unexpected mystery and wonder. And I also, you know, one thing I think we so often don't get exposed to, you know, photographers who have gone before us. There was, you know, the example earlier with the, the billowing, you know, the laundry, that's a new photographer. Here we have, you know, this lovely dramatic image, which I'm sure many of you have seen before, I'm going to peek around and say it here like that, you know, Paul Strand. Talking about eye contact and how important is in an image. I love this, this, you know, taking a simple contact, a contact contact. I'm getting chipped up by the book here. Taking a simple concept and explaining it in a way that the kids go, okay, love it, get it. We don't need to talk about the background here. We don't need to talk about, you know, where this was taken and everything was going on and the zone system and the use of lens and stuff. We want to talk about the eye contact. Why the eye contact makes this photograph so powerful. So then hopefully the next time somebody goes off, a child, you, and you're taking pictures of people that you go, aha, I remember that simple concept. And they're going to put it into practice to give my images more connection, more personality, more depth, so many people. I think go through life day, they are given a camera, they're given the opportunity to take photographs. And there is a lack of information that goes beyond the technical. And that's what makes me sad. I don't like the fact. The basics of seeing are not being passed onto people. I want my little boy to go off to the world and not to sit in just the ways that everybody else is telling you to sit that he gets told. You're color inside the lines, deal with these things. And a book like this, the seeing things, jaw myavids in this, and it is a slim volume, it's not a huge book, right? Has wrapped up in an easy to digest, wonderful way of looking. Everything that I get excited about for Tov, that I want to share with my little boy, we share with you to say, look, these are photographs that often people will show them. Say, look at this photograph, isn't this proper well-meaning photograph or something? Like all those art classes that we had at school where people were just like, oh, well, you just, this is important because I say so. If we also take the time to give the photographers of the future a roadmap that says, this is how you speak with this medium. This is the things you can do. Now take those ideas and run with them. And there's this picture of Lee Friedlander with the, in this shadow, he looks like he's got some sort of crazy hair, something going on there which I wish I had. Also, that's a really good point. A lot of these photographs are not heavy. They're not meaningful. They're photographs that once, like the text, have a simple purpose. There's not too much in them. They're amazing, they're fun, the kids are gonna love and they're looking at them. Is this your shadow? Seems to just tag along. But you animate, you are its director. And Joe doesn't talk about you. Friedlander was always on the lookout for new ways to see what trouble his shadow can get into. And how much fun he can have watching it. If this channel can do half as much, even a quarter, the fraction of instilling inspiration into photographers, but new and old, old, new and experienced, young and old, then we will have done our job that we will have helped to inspire people, to not let these ideas disappear. These, the people who are sharing these things, Joel is not a young man. Sorry Joel, right? And there is a window that is closing of knowledgeable people who are willing to share their experiences, their knowledge, their passion, their enthusiasm with the younger generation. In a way that is accessible, as I've been talking, I've got Alba, Alba, again, me with the names, Alba Lado Morrell, and I'm sure if I mispronounce that, but this is, look at these lovely beams of light. I'll put the picture up on screen because this light, this light is killing that light. You know, I mean, he's talking about seeing the light, that light is elemental, and it's everywhere, it's suddenly moonlight, starlight, firelight, streetlight, candlelight, even as lasers and neon. All right, and in, he talks about, to see the light is to understand something more clearly, or in a new way, as Alba Lado Morrell's photograph like being beams falling in a polka dotted pattern on the floor. It's encouraging thought in photography. I have not been as inspired to take a photograph or to try something new to go out and, you know, see what I can find as I have been by this book. This book, and this is actually the second copy that I have of it. I don't have actually two, this is a copy I bought. I gave everyone another one to a friend of mine's son, you know, in the hope, I think, the most powerful introduction to this art form that is at once both technical and aesthetic. I, you know, and we need to spend more time cherishing, encouraging and promoting the aesthetic. Because when we do that, our work improves. We can make, not meaningful work, but work that resonates with people, and we can help to give the people coming behind us, a guide that says, you know, there is more to making images than just crazy processing or whatever it is. You want to do make things with substance too. If you'd like to find out more about Joel Mayovitz's actual photography, and it is lovely, I think it's wonderful, check out this video over here. Thank you ever so much for watching, and I will see you again soon.