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Dec. 14, 2000 - Bill Cooper
01:01:09
Dumb and Dumber
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Time Text
Thank you for staying.
Thank you for being who you were when you were born.
Thank you for staying.
Thank you for being who you were when you were born.
In just eight years, these gangsters and international government gangsters took us from the greatest predator nation to the largest detonation on Earth.
Our standards of living have dropped like a lot for four out of every five Americans.
They have foreclosed on our homes, our farms, our factories.
They've exploited your jobs and surrendered our arms.
They must end war!
New World Order!
I am going to kill her!
The Illuminati want you to be a slave from birth to dread.
The bastards own the Federal Reserve, it's private.
They own it. It's not a Federal nor a Reserve.
The cashes make that fiat funding money stuff you call dollars, or two, or less.
They lend it back to us at full face value.
They charge you interest, you get the dick.
They get the interest.
They get the gold.
You get the crown.
Then what is gold?
A new world order.
This is gold.
A new world order.
This is gold.
A new world order.
This is gold.
It is a big idea.
I knew you were all over him.
I knew you were all over him.
Captain James DeChapia, criminal in 1994.
I'm right, I'm both, I'm sure.
I'm James, I'm James DeChapia.
I'm James DeChapia.
The FCFR controls the CIA, the FBI, the ATF, and the FBI.
They don't give a damn about the POW and the MIA.
Hillary Dillery hit her marks and miles.
They want a new rule.
They want it all.
And they want it now.
This Illuminati imports the dope.
They create the chaos.
Bring us out.
Crush our hope.
They created AIDS.
It's their designer disease.
They'll bring you down.
They'll grovel on your hands.
They want to vaccinate your child and give him the fuck.
They want to illuminate you and keep you in the dark.
They want you to pay for it with plastic, surrender your soul.
They want you under their thumb.
I give you control.
They want it all.
I knew you were on order.
Well, good evening folks.
You're listening to the Hour of the Time.
I'm William Cooper and tonight we're just going to do something different here.
I want to talk about a few things that are near and dear to my heart.
One is this studio.
I came in here and sat down tonight and it just all of a sudden struck me that what started out as a little bitty venture, and when I say little bitty venture, that's the truth, a little bitty venture I had a little bitty, one of those little two-channel, when I first started on radio, I had one of those little two-channel Radio Shack mixers.
And it had pots for two microphones and two channels.
So you could plug two microphones and two channels.
And I did all the recording.
This is when we were broadcasting on the Becker Satellite Network.
And I did all the recording to videotape.
Because when you record audio to videotape, I'm telling you right now, you get the best recordings you've ever heard in your life.
So the quality when we began was much better than it is now.
Because now we're recording to cassette tape.
When you record to videotape and you have a good VCR, a good recording deck with at least four heads on it, You get this incredible sound.
And that's what we were doing.
I had a little, I don't even know where I got them, but I had two microphones that are carotid.
I don't even know how to pronounce it.
I haven't got it in front of me.
If I could see the name, I could read it to you and pronounce it correctly.
But they're microphones.
You have to put a battery in them.
They just have beautiful sound.
And I got them at some discount place.
Really inexpensive.
And I had a tape player.
And that long, long, long ago bit the dust.
So I don't even remember what that was.
I didn't have a CD player at the time.
I had a tape player.
And all of the music came off of cassette tape.
And then we bought a one CD CD player.
And I think that was in Emerson.
And that was it.
That was our studio.
And when we first started going on radio, we were living in Taylor, Arizona.
And I was doing the broadcasts on tape from my home, shipping the tapes to Scott Becker, who then shipped them once again to I think I shipped them to Scott, and then Scott shipped them to Dallas, where they went to the uplink to the satellite.
And I don't even remember what the schedule was.
I really don't.
But I remember the first broadcast was on May the 2nd, excuse me, May the 4th.
The first broadcast, the hour of the time, was May the 4th, 1992.
Two days before my birthday.
And we've been broadcasting ever since.
And what's happened is incredible.
I'm looking around here and I'm surrounded by stuff that half the time I have to really look something up to remember how to operate it.
Because the studio has grown.
And it's not just a radio studio now, it's a television studio.
And we went on the air with Round Valley Television for about four weeks while we tested everything.
Everything tested out fine.
Then we went off the air with Round Valley Television while we get everything together and finish our plans for our studio, which I'm going to be putting together here pretty soon.
And once that's done, then 101.1 FM and Round Valley Television will be on the air.
uh... permanently twenty four hours a day and uh... they will be combined in one studio so that i can sit here behind the microphone and do radio and television at the same time same time and we will be live on the internet eventually uh... when this is all put together and uh... we're getting a new antenna for the uh... for the radio station because the old one is starting to get The signal is getting weak, which means the balun.
Something's wrong with the balun, or the cables have water in them, or something.
And over a long period of time, those things happen with antennas.
So, we're getting a new antenna, a new Belden cable, and so we'll be putting that up.
But the amount of equipment that we have now, that is going to go online when all of this is completed, That staggers my imagination because there's not going to be much that we're not going to be able to do and we'll be able to rival the quality of the best.
Whatever the best is, we can do right here.
And I'm not kidding you that we have a Trinity Live television switcher that can do things that are amazing.
We can do anything CNN can do.
Anything.
Literally.
We have the best television cameras that money can buy with over 700 horizontal lines of resolution which equals HDTV.
It's tops.
Nothing beats it.
I'm going to tell you right now.
Just looking around here in the studio, let me tell you what I'm surrounded by just right here.
I have the Ramsey transmitter, of course.
It's a professional FM stereo transmitter.
It's just a little hobby transmitter, but it covers this whole valley and it's 100% legal and lawful.
That's why I use it.
I have a Comrex model LX-T encoder and the DBX163X Compressor limiter which take care of the feed that goes through the phone line to WBCQ.
Under that I have a, and that's two units, next to that is a Panasonic telephone that I use to call WBCQ to get the link up and then I seize the line with the Comrex.
Under those is a Bellari dual tube compressor limiter RP282A for 101.1 FM and That unit has just done, I installed it yesterday as a matter of fact, and it has done wonders for the sound of 101.1 FM.
Did I install it yesterday or the day before?
I installed it this week, let's put it that way.
I lose my sense of time around here because Saturday and Sunday mean nothing.
Holidays mean absolutely nothing here.
And I work every day, literally, unless, you know, I really get worn down and decide to just, you know, not work.
That's not very often because I just don't feel good doing that.
I like to work.
I really do.
I don't see how people can retire and not work.
I don't know what they do with themselves.
I couldn't just sit around and vegetate.
That would kill me.
But this Bellari dual tube compressor limiter is quite a wonderful piece of equipment.
It's pretty big.
And it has an output level for it's a two channel output level for each channel.
A threshold, ratio, attack, release, a stereo link, two meters of course, and boy does it work!
Boy does it work!
Under that I have a realistic, that's a RadioShack, 12-band stereo frequency equalizer.
That's a 12-band with the IMX stereo expander.
Under that I have an Optimus 10-band stereographic equalizer.
With an image enhancer.
Under that I have a TDW-501 stereo double cassette deck with auto reverse decks.
Under that I have a JVC TDW-215 double cassette deck.
Both of these decks have Dolby BNC noise reduction.
And under that we have a Technics compact disc changer that will hold five discs.
That was donated by a listener.
Remember when our When our last five disc CD player died on us, a listener donated this.
Just send it in.
I just got a package one day and opened it up and there it was.
Right directly in front of me, I have a RadioShack SSM-1200 stereo sound mixer echo equalizer with four channels and two microphones.
Actually it's four stereo channels which means eight total channels and two microphone connections and pots.
It has an echo thing that I hardly ever use and a seven band equalizer which I hardly ever use also.
To my right there is a 200 CD Sony Compact disc player carousel type for 101.1 FM that was donated by our good friend Monty Butterfield when our last one died.
And it's still working really well.
On top of that is the Gintner phone link for when you call in to be on the air.
It goes through the Gintner.
On top of that is a RadioShack SSM-100 studio sound mixer.
And on top of that is a Panasonic telephone Which I can either call out on the air, and it is the one through which your calls come through, but the receiver is never picked up on that phone.
It goes from that phone to the Gintner, through the mixing board, and on the air.
To the right of that is a television monitor for Round Valley Television.
Then there are eight duplication decks.
Four head VHS duplication decks.
An SD3 Duplication System Amplifier and Black Burst Generator.
Also on top of the other bank of four is a Sony SV-3000 Hi8 Editing Deck.
On top of that is the Elite Video Broadcast Video Processor, which is one of the most incredible pieces of equipment I've ever seen.
And you're going to see some amazing results of what that thing can do eventually.
I've talked a little bit about it.
To the right of those are two of the best SVHS editing decks ever built by anybody.
They're Toshiba and I'm not down there so I can't read the model number and I don't remember what it is but they're the very best ever made.
They're just incredible decks and they're for SVHS.
I have another Hi8 editing deck and a video switcher.
We have the Trinity live video switcher.
And underneath here are two professional JVC SVHS editing decks.
Huge machines in brand new condition that we got at a very low price.
We have two of the best, best high-resolution studio color television cameras that money can buy.
We have also a Canon Hi8 L1, a Canon A1 digital, also Hi8.
We have the Canon XL1 digital camera.
That's a digital camera.
We have an Apple G3 computer with like, I don't know, 100 gigabyte of storage space
on a RAID array and another, I don't know, 16 gigabyte of storage space.
and I'll see you next time.
Six gigabytes and then for you know just for the computer operation.
And one of the best editing programs that there is.
In fact we have two.
We have Premiere 5.1 and we have.
What's the name of the I can't remember the name the other one but it's one of the very best.
And we do those on the Apple.
Uh, what else?
We've got lots of other stuff.
I mean, I'm just surrounded with stuff.
It's incredible.
And, um, we have about four other video monitors and then we have a big 27 inch video monitor and, uh, only the very best of, uh, cable connections that are shielded and gold tipped and all of that kind of stuff to make sure that we don't have any signal loss when we're using these things.
And gosh, there's just so much folks that we have some three quarter inch decks for three quarter inch playing three quarter inch tapes.
We're not going to do any recording on three quarter inch, but we have some three quarter inch tapes with some historic stuff on them in our video library.
And so we need three quarter inch decks to be able to play those things.
I don't like to dupe original material because every time you dupe original material you lose a generation.
So that's why we have some things that some people would consider antiquated but if you don't have those things you can't play that medium in its original form.
We also have some beta decks and some beta cameras and we have a beta cam That's an Ing shoulder mounted.
You know when you see these guys out covering news events and they get this huge camera on their shoulder and it says beta cam.
That's what we've got.
We've got one of those.
And titlers and microphones and all kinds of stuff.
What can I say?
But I just wanted to give you a feeling for what we've got here.
Now, if you wanted to put together a little radio studio, you don't need all this stuff.
This is just stuff we've accumulated for the radio station over the years.
Over all the years we've been broadcasting, we get this little piece here and that little piece here and this RadioShack SSM-1200 I actually found in Atlanta on a speaking trip in a RadioShack store when I went in to, I forget what I went in to get, I think I went in to get some some high eights tape to take my lecture and I saw this it was on sale and it was about half price and it's a big giant beautiful mixing board and we've been using it for years and it's just wonderful so you don't need to buy professional radio equipment you can make do with Radio Shack and all kinds of stuff and all you really need is a little mixer something to play a CD in or a
Our cassette tape in.
You need something to record your broadcast if you want to keep a record of your broadcast.
And a microphone.
And that's it.
Now, if you want to do something like what we're doing on WBCQ, then you're going to need a DBX and a Comrex and a phone, you know, be able to link up through the phone.
And, oh, I forgot you need a little Ramsey transmitter.
And you'll need a telephone if you're going to go through the phone lines to WBCQ.
And you're going to need some money to pay for the air time.
And you too can have free speech on the airwaves.
Just like me and lots of other people.
It's real easy to do.
So don't let all this equipment that I've been talking about get you there.
Because for the radio station, it's just stuff we've accumulated over the years.
A couple of things that people have donated.
For the television effort, we have gone all out and we've spent some big money, most of which was donated by the listening audience.
Some of the equipment was donated by the listening audience.
And when we get everything up and running, we're not only going to have television here in the Round Valley, but we're going to have television and radio on the internet, live.
And we're going to be putting out some of the best quality videotapes Best you've ever seen in your life.
Now, if you got the Lansing video, and all of you that ordered it should have had it by now.
We've had two people write and say they never got it that we sent it to, so we're going to send them another one.
So, look for that.
I mean, we sent everybody their order.
We got two people wrote that said they never received it.
So, they're going to get theirs, because we're going to send them another one.
Sometimes things just get lost.
I don't know how that happens, but it does happen.
I'm finding some past orders from months ago that I'm going to be getting out here real quick.
Buried under piles of stuff on the work table where Pauline used to work.
She didn't hide these things.
Pauline hasn't done anything to anybody, period.
So, don't get angry with Pauline.
I just didn't know where to look.
I didn't know where she put this stuff and I've been looking and looking and looking.
So, some of you who ordered stuff back then and didn't get it because the orders got lost and Pauline left and because of the problem with her husband, I can't call her up and ask her.
There's some bad feelings there.
You know, about a thousand dollars worth of our stuff disappeared with that dude.
So, that's all I can say about that.
What else?
Oh, I wanted to tell you that, you know, you've all known for a long time that I have a degree in photography, but I haven't done anything with photography in years, as a matter of fact.
There was a time when I owned one of the first fine art galleries for photography only, and when we opened, they were so rare, they were so rare, folks, people just didn't consider photography to be an art form.
Now, it's not only recognized, Some people's photographs go for lots and lots of money.
And when we opened the gallery, it's called the Absolute Image Gallery of Fine Art Photography in Long Beach, California, I got a postcard from Ansel Adams congratulating me on opening one of the very few fine art photography galleries in the world.
And that's one of my prized possessions, that little postcard.
And you know, that's what I love.
I love photography.
That's really what I'd like to be doing.
In fact, that's what I'd rather be doing than just about anything else in the world besides be with my family.
And so, you know, I just got so lonesome for my photography, if that's the right word.
Because, you know, it's like a friend to me.
I could spend all day just with my camera somewhere.
Now, of course I can't, but I can do things up here with my cameras.
I can assure you of that.
So I've been getting out all of my cameras and I'd forgotten how much photography equipment that I have.
I have a Hasselblad system.
I've got, uh, uh, the original Canon F1 in mint condition with an F 1.2, uh, 50 millimeter lens on it.
I've got a, um, 20, uh, 28 to 70 millimeter Our 28-70 zoom lens that goes on my Canon EOS 630, which was the first professional autofocus camera that came out before the EOS-1.
Now they have the EOS-1, EOS-1N, EOS-2, EOS-3, EOS-1V, and all kinds of strange stuff.
But mine is like brand new.
It's mint and it works Just like it did the day I bought it and it's more than enough for me.
I also have the Canon F1 New with a 1.4 50 millimeter lens on it.
I have a 35 millimeter to 105 macro lens and a 70 millimeter to 210 macro lens and a 500 millimeter lens for my Canon F system.
I have the extender tubes.
I've got the doublers for the lenses.
And it's all Canon equipment.
I don't mix equipment.
In other words, I wouldn't buy a Vivitar lens and put it on a Canon camera.
Because these things are meant to complement each other.
And I wouldn't put a Tokina 2X extender between a Canon body and a Canon lens.
I just won't do that.
I learned the hard way.
That if you use a certain kind of equipment you better stick to that equipment.
And you just better stick to it.
And that way you don't have any weird surprises.
Especially if you're working for somebody for money and they're paying you to take photographs and you've got a deadline to meet and you come in because you were using some strange piece of equipment and you didn't get what you thought you got.
And people don't want to hear that stuff.
I just learned the hard way.
I've got a Canon A1.
What else have I got?
I guess that's about it for my cameras.
And I love them all.
Oh!
I have a 4x5 speed graphic.
And I'll tell you why I have that.
I've seen people go out and spend thousands and thousands of dollars on 4x5 view cameras.
And specifically 4x5 field cameras.
Now a field camera is a camera that you don't use in the studio.
It's a camera you take out in the wilderness and might get banged around or dropped or something.
They're heavy duty and they're stronger.
People pay thousands of dollars for these things.
And they can't do anything that an old, and a speed graphic, folks, is an old press camera.
Remember the movies where you see the press photographers holding this big camera up and the flash bulb goes off?
Well, that's a speed graphic.
Or, I think some of them are called pacemakers.
I have a Speed Graphic and it'll do anything that a 4x5 field camera will do.
It has the same movements.
It uses 4x5 right-way film holders.
It has a nice ground glass on the back and good lenses and all that kind of stuff.
In fact, they have some of the best lenses if you want to know the truth for 4x5 photography.
And you can buy these used Speed Graphics In hot shops and used camera shops for anywhere between $100 and $300 depending upon the condition and what you need and what you're willing to settle for, how much money you have.
And they're incredible cameras that produce incredible photographs.
So why would anybody spend all these thousands of dollars for a field camera except to say I spent $5,000 for this thing?
When you can get the same thing that will do the same thing for two or three hundred dollars.
Actually, from one to three hundred dollars, depending on where you buy it.
And I've seen some excellent quality speed graphics go for a hundred bucks.
And I'm sure that if some swap meets, they might go for twenty-five bucks.
If somebody happens to have one they found in Uncle Joe's closet and maybe they don't even know what it is, but it's old-fashioned and, you know, they don't know what to do with it.
So I have a speed graphic for taking out and getting just absolutely fantastic quality 4x5 landscape and wildlife photographs.
And I love this stuff.
I love photography.
I love my cameras.
I love my equipment.
I've never sold anything, any of it.
I'm putting together an A1 system to send to Jessica because She's interested in art and photography and she took photography courses in high school and was a photographer for the paper and the yearbook and that kind of stuff.
So I'm putting together a little system for her because she doesn't have a camera.
She uses school equipment then.
And I'm going to send that to her for Christmas as a surprise.
And it will be a surprise because she's not listening to this broadcast.
She's working right now.
Checking all the meters and the cameras against my Luna Pro light meter.
I forgot to tell you about that.
It's probably the best light meter ever made in the world.
It's called Luna Pro by a German company, Gossen.
And checking everything, all the meters are right on, all the shutter speeds are right on, and it's because I stored them real good and used desiccant in the, you know, in the camera cases and kept them in a cool closet.
So everything is just like brand new.
In fact, if I were to put these on a shelf in a camera store, you would not know that any of this was ever used.
And I'm going to be using this stuff a lot from here on.
So you're going to see some pictures pop up on the website that I took.
And we're going to have a photography section on the website for those of you who are interested in photography.
I'll have some of my little hints for taking better pictures that everybody will be able to use and links to other photography web pages and all of that kind of stuff because I love this and it's I've got to do it because my soul needs it.
I need it.
I need it.
I just need it.
I need to do something I love and so I'm going to do it and I think you're going to be surprised and I've been looking into film now see I haven't I haven't done any photography for a bunch of years now and I know all about all of the film that I used to use that was the best film available back then.
What I'm discovering is incredible.
They have film now that rivals with 35mm what we used to do with 2.25 and 4x5.
The grain is that fine.
And if you're shooting this film, and it's all slow film, it's like 50 ASA, 100 ASA, 25 ASA.
AGFA has a film called Ultra 50 Professional.
It's professional film.
You're not going to find it in an amateur camera shop unless they stock professional film.
And professional film, you have to buy in what they call a Pro Pack.
And a Pro Pack is usually 10 or 20 rolls, depending upon who made the Pro Pack.
It'll either be 5, 10 or 20 rolls in the Pro Pack.
And you have to go to a camera store that sells professional film.
And professional film usually can't be processed, I mean it could if they wanted to do it or if they knew how to do it, but you don't want to take it to a one hour photo lab.
And they wouldn't know what to do with it if you did.
You need to take it to a camera store that can send it to a professional lab that processes professional film.
And in most cases, you'll find that the price is about the same or maybe just a little bit more than you'd pay for where you normally take your regular amateur film.
And when I say amateur film, I'm using that term loosely, folks, because there really isn't such a thing today.
Today, what they call amateur film today is what we were using back then as professional film.
And I'm talking quality wise.
It wasn't the same film.
But quality-wise, it's just as good.
And so, you know, you can use whatever film you want, but I'm telling you right now, they've got some film, even in what you call the amateur category, that's incredible film that you can do incredible things with.
Incredible color saturation, vibrant, Rich, beautiful colors!
And of course you have to buy different types of film and take your photographs and look at what that film produces, providing you're exposing the film correctly and having it printed by somebody who knows how to print it correctly.
And then you can choose the type of film that gives you the color and the grain and the vibrancy.
Or whatever it is, you know, the warmth or the coolness.
Some film is cool.
Some is warm.
Some is what we call neutral.
And different people prefer different aspects of these things.
And so you have to decide which is best for you.
But see, if you have an education in photography like I do, you know that you use all of those different films for different types of shooting.
For instance, you wouldn't want to use a warm film if you're going somewhere to shoot the atmosphere of a winter scene in the country, for instance.
You'd want to use a cool or a cold film to show, to bring out, you know, the feeling of winter.
And you wouldn't want to use a cold film on a warm summer day taking pictures of the beach.
Because you want to bring out the warmth of the summer day and the warmth of the sun on the sand and the tans and things like that.
So different films have different uses for people who have been educated in photography or who has been or still is doing professional photography work.
I used to.
I haven't done it in a long time.
And while I used to be able to stack up with the best of them, I'm going to have to get familiar with all this new film and get, you know, re-familiarize myself with all my camera equipment.
So I would not dare call myself a professional right now.
Although I could have years ago, but maybe someday in the future, I will be back up to that status again.
I hope so because there's nothing feels better.
Then going out and really putting your heart and soul into capturing what you feel are just beautiful images that tell stories and convey the sense of the place where you were and the feeling and the atmosphere and the people and what they do and that kind of thing and be able to sell those photographs.
Oh what a feeling!
Really liked and appreciated what you did.
As much as you did.
Because I've got to tell you, photo editors are tough and they don't buy just anything.
It is a tough, competitive field.
And when you sell something, you know you're getting good.
And when you start selling things regularly, you know that you've entered the pro field.
And when there's a demand for your work that exceeds your ability to fill it, you know that you're one of the best.
And no matter what field you may go into, that's just a wonderful, incredible feeling.
So I'm going to be doing a lot of that stuff and you'll be amazed at what you can produce once you learn to develop what they call an eye for photography.
You stop seeing things the way normal people see things and you see things photographically.
You see light and you see shades and you see colors and you see compositions.
And you can actually see people walking along the street and before it even happens you can see a photograph beginning to form.
And you can be ready and snap that picture when it all comes together.
It takes a lot of practice and you have to develop that talent and it is a talent but it's worth a lot of money.
You can go out and you know some people are very disappointed.
They think the key to being a good photographer is expensive equipment.
Well if you want to be a good photographer you need good equipment but it doesn't have to be the most expensive equipment unless of course you're going to be working for some of the best You know, magazines and things like National Geographic are going to need the best lenses and they are expensive.
But you don't need any more type camera bodies than what I told you that I have.
And you don't need all of those.
You really need maybe two camera bodies and the lenses that you want.
And you need one for primary and one for backup.
You should always have a mechanical camera.
Because most of the pro gear that they make today is electronic.
If your battery goes dead, you're dead.
So you want one of the older camera bodies that will operate without a battery, what we call mechanical bodies, which is my old F1, the original F1, and the F1 New, both fit that category.
The original F-1 was always a mechanical body.
It's built like a tank.
You can drop it off of a two-story building and it'll survive.
The new F-1, if you couldn't drop it off a two-story building, maybe a one-story building, it's also built like a tank.
And if the battery goes dead in it, it will operate.
It just switches to mechanical operation.
And so those two are good ones to have.
Nikon made some Camera bodies, the original F1, I think the F2 was a mechanical body.
I think the FM is still a mechanical body and you have to be able to, you know, you have to be able to override all this automatic stuff.
And if you're really a professional photographer, you really don't need that.
You might want to have a camera that has automatic features.
things are happening so fast that you don't have time to really do the mental work necessary
to be able to operate manual equipment.
After a while, you get so used to that that you don't think about it anyway.
You just use it.
But you need some manual cameras.
You might want an automatic camera for those times when things are just happening so fast
you just need to put something up to your eye and start shooting.
But it's just an incredible feeling to create something.
Photography, a photographer means one who draws with light.
It's from the Greek.
One who draws with light, or light painter.
And light is everything to a photographer.
And once you get used to thinking that way, and feeling that way, for years and years now, and this began to happen to me in high school, I began to feel with light.
I don't only see light, I feel light.
It has a feeling, it has a temperature.
And I know when the seasons change, not by the date, not by the calendar, not when somebody on television tells me it's the first day of spring, or the first day of summer, or the first day of fall, or the first day of winter, I can get up in the morning, walk outside, and the light will tell me instantly when it is spring.
One day, magically, the light is different and it's spring.
Same with summer, same with fall, and same with winter.
And it's a change in the light.
And I know it instantly when that happens.
Absolutely instantly.
And it's an incredible thing.
I appreciate light.
I see light that other people don't see.
I mean, they see it, but they don't see it.
If you know what I mean.
My favorite times of day are early in the morning and late in the evening.
Especially late in the evening when the shadows get long.
Going from summer into fall are some of the most incredibly beautiful afternoon evenings that you will ever see in your life.
And some people never see it.
They never see it.
And I don't understand it.
Actually, I do understand it.
But I don't understand it.
If you know what I mean.
How could you miss something so beautiful?
But everybody goes about their daily routine and they don't see things.
They just don't see things.
And one reason is because they're not looking for it.
They've never been told about it.
Maybe they don't appreciate it to begin with.
But it's just incredible and it's sad that so many people miss these things.
The quality of light can make a mood that can be transmitted to people and animals.
and can actually cause events to change, or guide them.
People's moods determine what they're going to do.
In many instances, and a lot of the time, people don't realize it, light helps determine their moods.
I love it.
I just love it.
And I like being able to see photographically.
I really like that.
And I like it when the light is just right for people.
Because people shine when that happens.
They don't know they're shining.
They don't know the light is right.
But it's the best time in the world to do Environmental are what we call natural light portraiture because it brings out the very best in people.
And something's happening too that you may have noticed.
This digital trend with video and photography is kind of scary.
It's not scary if you're doing things that you can Be very creative with and maybe even help people feel better about themselves.
For instance, if you're doing portraiture and you have someone who maybe through the fate of nature or some disease or something they have maybe a pockmarked face or something that makes them feel insecure and maybe they don't even want to get a portrait but you can take a portrait of these people put that on a computer and you can take all of those blemishes and things away and make them the way that they would prefer to look and it makes them feel really good and so that part of it is nice.
When you're being artistic and creating something like artwork that's nice.
When you're You know, doing advertising stuff.
And we all know that that's as phony as a $3 bill.
Anybody who believes anything that they see in an ad is just a wacko anyway when you're doing fashion work.
Stuff like that.
You can be very creative with digital photography and with video.
But when you're doing documentary work, digital is dangerous because the whole history of the event can be changed simply by putting all of the photography or all of the video on a computer And you can make it look like anything you want.
You've all seen Star Wars.
That's what you can do with digital.
You all saw Alien.
That's what you can do with digital.
I mean, you saw The Matrix.
That's what you can do with digital.
You can make things happen that could not possibly and did not happen.
And you can present it to the world as a documented Piece of history.
And stupid people will believe it.
Rather than say, hey, did you digitize that and put it on a computer?
And if they did, you can't believe it.
No matter what it is.
No matter if they swear up and down and sign 50 million affidavits that they didn't do anything to it, you still can't believe it.
And yes, regular photography can be fake too, but not as easily.
It's much more, it's much easier to To figure out, you know, a faked photograph if it's done on film, than if it's done in a digital mode.
What's going to be really dangerous, folks, is if everything switches to digital.
You see, because I have this nasty feeling, gnawing at the back of my mind, that eventually the internet is going to be the conduit hooked through the television in every home, everywhere, Where you're going to get radio, you're going to get television, you're going to get email, you're going to get websites, you're going to get... you're going to read books.
Oh, when books are digitized, the whole history of the world could be changed.
Couldn't it?
How about the Bible?
Huh?
When they digitized the Bible?
I mean, even if they changed one word, you know, every day, so that nobody really noticed it, How many days would it take to change the whole meaning of the Bible?
Figure that out.
It wouldn't take a whole lot of days, I've got to tell you.
It certainly wouldn't take a whole lot of years, would it?
But I have a nasty feeling that the Internet was created, and I've told you this before, to be able to control all the information in the world.
In other words, people will only see and hear and have access to information that whoever's in control wants them to see and hear and have access to.
And since it's all digitized, it can be changed to whatever they want it to be.
That's dangerous.
It's really weird.
Good evening, you're on the air.
Well, hi, Mr. Cooper.
Hi.
You know, I used to be in photography.
The greatest pictures that I ever saw Yeah, that's true.
natural light not not the flood lamps and they were black and white photos
Ansel Adams and you know this he used to sometimes sit and wait for hours and hours and hours
Until the shadows were just right and then he tripped that shutter. Yeah, that's true
That's the the big difference between an amateur and a professional
Or someone who really is in love with photography and someone who's just taking snapshots
Is the fact that they will wait or they will make it In other words, they don't take photographs, they make photographs.
Yeah.
He did a lot of his magic in the darkroom.
He had what he called a zone system.
I never really understood it.
Well, it's very complicated, but if you study it, you can become proficient with it, and basically what it does is it gets away from the limitations of the latitude of the film to be able to cover all of the Yes.
gradations between white and black in a photograph.
Yes, he was, I have one of his books and some of his photos out in Yosemite were just absolutely
just wonderful.
Oh, they're incredible.
They take your breath away.
Yeah, they will.
When you see them printed in a book, they're beautiful.
When you see the actual photograph, they literally take your breath away.
Is that right?
They have a three-dimensional quality, and you feel as if you could just walk right into it.
Is that right?
Oh, yes.
They're just incredible.
I've only seen copies of his work.
I've never seen any of the originals.
I saw something that was the first time it was ever done.
A museum had an exhibition of Ansel Adams prints and they took and they painted the entire gallery in 18% gray.
So the entire gallery became a gray card.
A gray card, right.
18%.
That's right.
I have a couple of gray cards upstairs.
And on the walls of this gallery they put his prints surrounded by the 18% gray and they just It's like they expanded through the wall and became three-dimensional and it's the most incredible thing I've ever seen.
Oh, I can imagine.
I stood there in awe for hours.
Yeah, yeah.
Well, this is a really interesting show.
I'll let you get going.
Okay.
Thank you.
You're welcome.
If anybody else wants to call, you're welcome to.
We don't have too much time left, but we've got time for a couple of calls if you'd like to.
This is the kind of stuff that I like to talk about.
And I like to do.
In fact, I don't like to do it.
I love to do it.
It's my passion.
Photography is a passion with me.
And when I have a camera in my hands, I'm very creative.
And when I'm in a dark room, I can stay in there for days.
And I won't come out until I've got something that will just knock you down.
I just love it.
Good evening.
You're on the air.
Hello, Mr. Cooper.
I'm talking about photography tonight.
Something I love to do, too.
I like my Kodak Dual Flex and my Browning Hawkeye 620 box cameras.
I put them on time exposure, I open the shutter, put them on something solid, tripod or whatever, and when the fireworks goes off, I got the picture.
When the lightning goes off, I got the picture.
And I don't know, is that something you've ever played around with?
Yeah, in fact, both of those cameras were given to me by my grandmother when I was a boy.
Those are old cameras.
Yeah.
And they're also good cameras.
Yeah, the Browning Hawkeye I thought was good.
And then a friend of mine said my daughter dropped my Kodak Dual Flex.
Is there anything you can do about it?
So I took it home, riveted the thing to hold the mirror back in, cleaned out the optics, took a picture of it, and I couldn't believe it was that much better than the old Browning Hawkeye was.
It was a fake light.
Yeah.
And so that's what I've done.
I mean, I could pick out individual leaves at good distance with it, you know?
It was even better than the Hawkeye.
Well, let me tell you what's happening there.
It's called reciprocity failure.
a little bit, you just cover the lens because they say that the black of night, if you leave
the shutter open, uncovered, it dulls the black. And a friend of mine who was into photography
very deeply, he said that's the explanation that I have.
Well, let me tell you what's happening there. It's called reciprocity failure. Whenever
you take long exposures on film, you have what's called reciprocity failure.
So you have to make up for that either by lengthening the exposure or when the film is developed.
And if you don't go in and tell them that you have reciprocity failure on that film and you want them to make up for it by one or two stops, they won't do it and that's what makes your prints come out like that.
Okay.
Reciprocity, I've heard of.
Reciprocity.
Barrier, I haven't heard of.
Yeah, well, if you'll read the little piece of paper that comes with your film, it'll tell you about it in there.
Okay.
Another film, Ektachrome Infrared.
Have you ever used it?
Yes.
Yeah, okay.
There was the E3 emulsion, you know, up until about, I don't know, probably 10, 15 years ago, and then Kodak stopped making it completely.
Well, they stopped processing probably 10 or 15 years ago, and then they stopped making it, I think, probably 5, 6, 7 years ago.
Well, if it's E6, they haven't stopped processing it.
It can be processed by any lab that has E6 equipment.
Yeah, well, it was E4, but now they've brought it out in E6.
Oh, I see.
Okay.
If you want to play around with it again, it's there.
I'm doing it right now.
But I shot a pine tree one time, and I was using a Revere stereo camera.
And if it wasn't for the junction box and the wires in front of it, you can't judge the infrared.
You just have to kind of guess about it.
And so anyway, I shot this most beautiful blue sky, but it was a lighter blue sky.
It was kind of like a, I don't know, like a tinge of iridescence to it.
And I overexposed it and washed it out.
And I'll tell you, it's the most beautiful pink pine tree that I've ever seen.
Well, you ought to remember how you did that.
Because that's an accident that you want to remember how to do.
Yeah, and you know, the original slide, man, that was 25 years ago.
Yeah, but I hate to interrupt you.
We're out of time.
Gotta go.
Okay, but that's the prone phase.
Gotta go.
We're out of time.
Thanks for calling.
Good night.
We'll do this again some other time, folks.
Good night.
God bless each and every single one of you.
Good night.
Annie Kuhn Allison, I love you.
All of a sudden, in the middle of the night, there's a loud knock on your door.
Yep, we'll do it again, folks.
Something's not right.
Watch your arms.
Things don't go fast.
We're here for the government.
We're here to help you.
And I'm from the I.R.S.
with a power to talk.
If you've got a complaint, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, ha, Hillary Shalala, Reno Janet Dyke, reading the words of General Albert Pike, the money founder of the Ku Klux Klan, engineer of the Masonic Master Plan.
Pike's threatened.
Lucifer is gone.
Across this land.
And Clinton's saying it's a mark.
If you're right, then.
While we're all dancing with the drums of uproar's rife, Clinton's preparing it for another of his means.
Patches.
Pies.
Portal.
Order out of chaos.
Depression.
Inflation.
Creates a panic that erodes the nation.
Portal.
Crisis creation.
Incite Black and White's new program.
Agitation.
Don't resist!
You're surrounded by the UN and White's plans.
The AGM permitted Blacks to become the one world order.
But it's not new.
Iron Mountain Computer Base and Petal Mutilators.
White Projects, UFOs, and we're just a combination.
The Nazi doctors didn't die?
Come on, get him!
They came here with the OSS, through Operation Saber Clip.
National ID?
Debit cards?
Yeah.
Vaccination bioships, milk cartons, kids?
Genetic engineering.
Clinton says her health plans for you, and your own goods.
Sure!
And Adolf Hitler's Robin Hood.
This is a test for all of us.
So I have today just one simple request.
Biochip implantation. Vaccinate your kid, or you end up in a kidney attack.
This is a test for all of us. So I have today just one simple request.
A comprehensive package of health care benefits that are always there and can never be taken away.
Atmosphere is so genuine.
Media hype.
confusion.
Masonic religion, it's a lie.
Not your friend, or the superior messiah.
The Illuminati thinks that they're enlightened, that they're to be the gods of earth, born of incest from the sons of
Satan and their sisters since the time of birth.
The Illuminati thinks that they're enlightened, that they're to be the gods of earth, born of incest from the sons of
Satan and their sisters since the time of birth.
Hidden Agenda, Kissinger, Nixon, Ford, and Bill.
While your kids out back smokin' crack for some cheap thrill.
They numbed us down and dumbed us down with fluoride TV drugs, the NEA, and public schools.
They've taken your brightest and our best and made them public jewels.
With many media brainwashed.
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