8.10.2026 - Anne Moebes-Curator, The Jack Moebes Photo Archive

The Jack Moebes Photo Archive is dedicated to the conservation of the photography of Jack Moebes (pictured) who spent 30 years as a press photographer. For more information, click: https://jackmoebes.com/.
 

Transcript

SPEAKER_01 0:02

Good morning. This is the Glain's World Podcast, where conversations are worth hearing and seeing. You can watch it each week on Facebook, YouTube, and LinkedIn. You can also listen in on Spotify, Apple Podcasts. And for more information on the past episodes, you can visit the website, which is behind me, blamesworld.net. I'm your host, Blaine Greenfield, coming to you from my Zoom studio in lovely downtown Fairview, North Carolina. And each week we share positive news and information at people and organizations in both Western North Carolina and throughout the country. And Twitter and it's my pleasure to introduce um a new friend of mine, Anne Mobies, for being my guest today. And Anne you can feel free to wave to all your fans and fans on YouTube and elsewhere. And that's Anne Mobies. And people in the area may know her because she just finished a starring gig in um Great Show Music Man. And that was um that's how I first got to um meet Anne. We're gonna talk Ann a little something different though, because in during that show I found out about you that had kind of an interesting uh other story to tell, if you will. And it's not so much about you, but it's about your dad, uh, Jack Mobies. And um why don't we jump jump right into that? So he was a very talented photographer, professional photographer. And um what was his background?

SPEAKER_00 1:28

Yeah, so it's interesting. He he was a press photographer for the Greensboro News and Record for 30 years from 1945 to 1975. And um how he got into it was that he had studied actually gone to law school, but then um he volunteered uh you know for the war, World War II, and um he uh they sent him to they gave him an aptitude test and they they found that he tested high on photography. So they sent him to Lowry Air Force Base in Colorado Springs, where he trained as a photographer and you know to print, and and so he was going to be in the photo mapping unit. Um, and then he got shipped to you know various islands in the South Pacific, uh, where he was for three years and got malaria a couple of times. Um, but interestingly, um because he was colorblind, he got booted out of combat. So the the aerial photographer, you know, the the in the Army Air Force, um you, if you were a photographer, you had to also be able to land the plane. But because he was colorblind and you needed to see the lights, I guess, of the runway or something were you know, red and green or whatever, he got booted out of that. So he was basically in photo labs in the South Pacific. And then he just fell in love with photography. So when he came back, you know, he didn't want to practice law and he he he got a job with the news and record. So Greedsburg.

SPEAKER_01 3:07

He uh moved into it. Had he as a kid been a photographer or had he taken pictures?

SPEAKER_00 3:13

No. Um, I think there was a story about how somebody had given him a little camera and you know, or something. But um yeah, I don't know that he really knew he had a talent for it until he took that, you know, aptitude test. But he was very naturally talented in photography. Yeah.

SPEAKER_01 3:33

And something I find very interesting in that you also mentioned he was colorblind, and so am I. But let me ask you then. So he most of his career he was doing black and white. Did he eventually discover color or did he eventually take color pictures?

SPEAKER_00 3:47

You know, even um even later after he retired, he did a little bit of color, but he just loved black and white. And, you know, he even when a lot of the press photographers, you know, the quintessential press camera was the speed graphic. So most of and it was a large format, you know, four by five negatives. And he even when the other photographers were going to 35 millimeter, he still stayed with the speed graphic because he just loved that he could get all that detail, you know, in his images. So when he died, there were, you know, some 20,000 negatives that I had uh inherited and didn't have a chance to go through actually completely until COVID, um, which was really amazing because I was extremely close to my father. And to kind of go through them was like going every day on a job with him, you know, which could be anything from car wrecks to parades to, you know, civil rights, you know, protests to, you know, um, I don't know, uh fires and you know, everything that a press photographer covers during 30 years, you know.

SPEAKER_01 5:00

You mentioned the dark room. Did he eventually convert the dark room? Did he eventually ever develop a color?

SPEAKER_00 5:07

No, I I don't think he ever developed color, but yeah, but um so but I used to sit, you know, as a little girl, I would come in and sit on a stool, and it was just like magic watching him kind of move the print, you know, from print to different hypo and you know, whatever the different things were. And then to see that come alive under the enlarger, and then you know, it I to me that was just magic.

SPEAKER_01 5:35

So just listen to it, it's magic to me. Did you ever uh learn how to do this yourself?

SPEAKER_00 5:41

No, unfortunately. I mean, that's one of those things where you just regret that, you know, I I could have learned from the master. I mean, I did go to film school and I have I think that acumen for the audio visual, you know, uh talent, but I just the technical part of it I I don't like so much. So, you know, I like being able to tell a director of photography what I want and let them figure out how to do it, you know what I mean? Yeah. But but in in years later, I've been kind of regretful that I didn't learn from him because he would have been the best teacher. Yeah.

SPEAKER_01 6:16

So talk about the fact that all of a sudden then COVID hits and you now find yourself you had them for a long time, but you have a 20,000 pictures.

SPEAKER_00 6:25

20,000 negatives, yeah, four by five negatives. Yeah.

SPEAKER_01 6:28

So what did you what did you do with them? What did you start doing?

SPEAKER_00 6:31

So I had sort of stored them for all these years just because I was working so many hours. I was a lawyer, an entertainment lawyer in mostly in LA. And so I just never had time to go through them. And so until you know, after I'd retired and I was had moved to Asheville, and um, so the idea was that I had to preserve this collection because if I didn't start putting them in archival boxes and and whatnot, that they were going to deteriorate. So I was able to do that and um working on other conservation measures now too, and hopefully eventually we'll be doing more exhibits, um, some books I'm hoping to do in the near future. So that that's the goal to conserve this really amazing uh collection of 20th century um you know photography.

SPEAKER_01 7:30

So that's certainly though a pretty big job for you to go to 20,000 negatives.

SPEAKER_00 7:35

It is.

SPEAKER_01 7:36

Were any of them in print form or they were all negative?

SPEAKER_00 7:40

Yeah, yeah. I mean, and it's interesting because um as a child, you know, of course, um we were always having our picture taken. And um, I mean, that's not on this website that I have now for him, but uh because it's mostly his work photos, but um, but just every time I was turning around, I would our pictures were being taken, and they were always these beautiful artsy pictures in eight by ten glossies, you know, um, instead of what most people have, which are little Polaroids or something, you know. And I just they're just wonderful artsy shots, yeah.

SPEAKER_01 8:19

I mentioned my dad did similar kind of thing he took for everybody else. Was your dad also like the neighborhood photographer? Did he take for other people, your friends?

SPEAKER_00 8:26

And did take a lot of neighborhood kids too, and we were always in the newspaper, all of us. So if if it was a snow day, you know, he was taking pictures, you know, because he would sometimes be asked to just tool around town and find, you know, a snow shot, or you know, um uh I have a quote on the website about how he um he would sometimes, whenever they wanted a shot, you know, of snow or something, he go up on this skyscraper that had ice on it. And uh one story was that this insurance agent kind of put his head out the window because it was very precarious up there and said, you know, um, well, that I that's a hell of a way to make a living. And my father said, Well, what do you do? And he said, I'm an insurance agent. And he said, Well, I would sure hate to work as an insurance agent. But um, but he would go, he would take those pictures of us and like Halloween. There'd always be a shot of me with you know, light of a pumpkin or some kind of crazy thing just to put it in the newspaper. So my pip picture is probably in the newspaper. God only knows how many times. Yeah.

SPEAKER_01 9:36

Do you have any brothers or sisters?

SPEAKER_00 9:38

I had three older brothers, uh, all of whom of are deceased now. Yeah, I don't have any family members left. Yeah, I lost brothers.

SPEAKER_01 9:48

They were involved in the picture taking too.

SPEAKER_00 9:50

Um well, yeah, they were the subject too. And and actually, my oldest brother who died this last September, he was a prodigy artist. He went to the art school in New York City, the the famous um Art Students League in New York. But he also did a lot. My father taught him a lot of photography. So my father kind of moonlighted um as a as a wedding photographer because he didn't make enough of the newspaper to, you know, raise four kids. So Greg would often go and take pictures of these weddings and things too. Yeah.

SPEAKER_01 10:29

At the time that probably was kind of a lucrative thing, or could have been a lucrative hobby, if you would, to be able to do that.

SPEAKER_00 10:36

And they all and all all of the families in Greensboro wanted my father because he was the best at the candid shots because he was a press photographer. So he was very much in demand for that as well. Yeah.

SPEAKER_01 10:49

So we talk about then we talk about him, but I think it's really exciting to see some of his stuff or who he is. And to your credit, you put together this magnificent website. I just love it. And if we can kind of maybe share the screen and talk a little bit about it, because we can both know who your dad was.

SPEAKER_00 11:08

Sure, I'd be happy to. Um so let me see if I can do this right.

SPEAKER_01 11:15

There she is. Great. Okay. So we're going to go. Let me just jump right in. So this is uh first caught my attention immediately once he told me about this. This is the opening page of the website. And so talk a little bit about that if you would.

SPEAKER_00 11:30

Well, this is probably my favor's most famous image. Um what he's most known for was that he was the photographer, the only photographer to get photos of the uh what we call the Greensboro Four, the four AT students who sat at the lunch counter, Woolworth Lunch Counter, on February 1st, 1960 to protest uh segregation. Um, this picture is a very famous picture. This and another one are in two Smithsonian museums, the Museum of American History and the African American History in DC, um, at least for the time being, until someone decides to remove them. Um, they've been there for 40 years, yeah. Uh, but uh so this actually uh it's it's a little bit of a misnomer that these four people here, the Greensboro Four, this was actually taken on the second day of the sit-in. The first day he could not get in. And so uh he had to get a picture of them coming down the street, which I can show you in a moment. But those were the that's the only picture of the Greensboro Four. Now, this one was the second day, also a famous shot. Um, I don't know if you can see my cursor here, but these two there's two of the Greensboro Four here, and then two other protesters the second day. So um, and then this is a picture of my father.

SPEAKER_01 12:58

Let me just have you stop stop a second there. Oh, yeah. This quote no back to the picture you did, just go down again. Okay. And just I'm reading this and just I love that one quote. Um, I think people can see it, but I can't believe I have a job where they give me all this film and send me up, take pictures all day and pay me too. Because every amateur photographer talks about that. That you had to buy the film, you had to process it unless he did himself. And so that was a big part of the job that he had to do all this and he got paid to do it. So he liked it. Great photo. I love it.

SPEAKER_00 13:32

I and you know, I think he just loved his job so like every day of his job, you know, and he just said he wouldn't have done anything else, even though he didn't, you know, get paid very much or whatever. But um, yeah, so he he just and and I think he was an extremely talented photographer who could have done anything like you know, national geographic work or whatever, but he wanted to have a family. And what I like to say is that you know, he stayed in one place and the world came through because, like I say, the sit-ins, this were the first sit-in that precipitated all the other sit-ins throughout the South. It's a very famous, these are very famous photos, and um, you know, also just things would, you know, like in 1960, Nixon and uh I can show you some of those if you'd like. Um yeah, so Nixon and Kennedy were stumping through um let me go to that gallery. Um so all these, like this is a picture of Raymond Burr coming through. So Kennedy and Nixon, as you know, were were campaigning against each other in 1960, and they would come through Greensboro. Here's Nixon, you know. Um, so you know, the world basically came through. Johnson came through. This is Miss Kitty from you know, Gunsmoke in a in a local parade. Um, Norman Vincent Peel, if you know uh people know who that is, and Raymond Burr from Perry Mason. Um my my father, it so happened my father's sister was also secretary to the vice president under Roosevelt, and then later Truman. And so she was able to get him into the Oval Office. So there's that picture of Winston Churchill and Truman. And then this was um a very famous um author of Death and Dying, uh, Elizabeth Kubler-Ross.

SPEAKER_01 15:31

Okay, sure.

SPEAKER_00 15:32

And then and then some people would remember Frank Leahy. Um so it was interesting, and then you've got you've got these luminaries who would come through. Uh, another thing my father just, and then there's the race relations. Um, so I mentioned the sit-in images because those are the most famous, but Greensboro was also the when they integrated Gillespie School, my father took a lot of pictures of integration, and actually those pictures were in Life magazine. This one in particular, I wrote an essay about uh recently, and it's a this is a Ku Klux Klan or um, you know, yelling at one of the boys coming in the school. Um, this is the original for Greensboro 4 walking down the street, as I mentioned. And if people go to the website, jackmobies.com, there's actually a really interesting interview of my dad where he talks about a Ku Klux Klan member um holding a knife to his throat when he was trying to get pictures of the integration of the schools, and also how he got the famous uh second day, you know, shot. Um, so and then there were other, you know, in a uh when they were trying to desegregate theaters, and then I just love a number of his images of you know race relations and just you know, showing that we weren't all, you know, um, you know, that there were some wonderful moments, you know, of diversity and so forth.

SPEAKER_01 17:03

Now, did you um uh when he was shooting, did you ever go with him on any of the shoots or did you did it ever take it?

SPEAKER_00 17:09

I did, I did some because um, you know, so my mother worked as a teacher, and so there were times when, you know, I I would have been home alone because I hadn't maybe hadn't started school yet. And the one thing I remember is my father had this um kind of jump back here uh to this picture, and you can see it. Um oh, maybe that's I forget where it is now. Oh, come on. Um but he had this is my favorite picture of him. This is sort of the quintessential press photographer, but he had this bag here, you know, and back in the day, you know, they had flashbulbs that went into these cameras, right? And so I would have to put the flashbulbs in the, you know, in the bag. And then you also had to remove the magazine every time to change out the film, you know, with those old cameras. And so I was kind of his helper, you know, or whatever. So that was kind of fun. But uh, and then I don't know, uh, going back to the galleries. Um, one thing that he loved would were taking pictures of children. This is one of my favorite things in animals. Um, so it's it's just to me, I think it would be of interest to people to go back and see, you know, beautiful, yeah. Who we were from that time. I mean, this is an interesting picture because, you know, this is probably around the early 60s or 50s, even, and you've got, you know, an integrated classroom there, and you know, the kids are all happy, and you know, um uh this is one he probably set up, you know, for George Washington's birthday or something. Um but I I think um it'll be of interest to people because it you know it shows who we were during those three decades, and I think history is so important and for the future as well.

SPEAKER_01 19:12

Um this missing though, Ann and these. So so far I'm not seeing any of you, you know.

SPEAKER_00 19:18

Right. So this website is really just for my dad's press photography work. Um, at some point, you know, I may do something with family photos, but um, you know, and then plus my father took a lot of photos of the South Pacific. Um, and I was actually working on a documentary at one point. I went to the island in the South Pacific where he was, Espirito Santo, and people may not know this, but James Mishner was on that island because that was the big staging island, and it is the island uh that he based South Pacific on and Espirito Santo. And so um I was able to get on the base, interview a World War II expert, um, had a you know a photographer that, you know, um uh uh uh that helped me shoot that. Um, and then I also went to a base in Hawaii, Huku Point, also and interviewed a World War II expert there. So between that and these letters that my my aunt, you know, collected of my father's, she was at that time in the office of the vice president. And he was so sort of in the the macro world and he was in the micro world in the South Pacific. So I have all those letters and then the photograph photograph. So eventually uh we'll have probably a different website for the the World War II photos and and documentary. Hopefully, I'll put that documentary together as well.

SPEAKER_01 20:56

Because you mentioned you were working on a project. This was a project you were working on and it kind of went on hold.

SPEAKER_00 21:03

Yeah, so I mean it's just taken uh a lot of time to put it together over these years. Because, you know, when you're working, you don't have time to do that. So probably in the last five years is when I put the most effort into it and we created the website. And like I say, hopefully in the next few years, we're looking to do some exhibits, um, you know, and so forth. Um, so exhibits and books, you know, hopefully.

SPEAKER_01 21:31

Going back to what you were starting to show me, so you showed me some lovely uh children pictures. Show me some of those animal pictures we started.

SPEAKER_00 21:38

Yeah, those are so we call this section children and other animals. I love it. So um, and somehow the newspaper sort of favored him for these these things. Um, let's see, you wanted to see a few of the animals. Like this is some hogs, and you know, and this actually. Was in Boys Life in Spanish. This one. Um, it was of a um this guy, uh, I forget his name now, but he won a prize at the fair for best, you know, hog or whatever. And it looks like the hog is smiling. Um, and then let's see if there's some other this one I thought was kind of interesting. Yeah. Um, and then, you know, there's actually, I wanted to point out as well, um, there's a section I call Life is Art. And my father, even though he's a press photographer, he really was very artful, maybe more than press photographers normally are. And so this is one of my favorites of this fireman. Um, and then there's a kind of a famous one that I'm selling prints of now. And it's um of a girl blowing a bubble. And uh I'm just kind of scrolling through these a little bit. Um this one's quite, he used to like to use infrared film algibics. So this one right here is fairly famous, this photo. This is of um a girl blowing a bubble with bubblegum.

SPEAKER_01 23:14

Wow.

SPEAKER_00 23:15

And uh see if I can stay on it because it wants to um, but this was actually on the cover of a Warner Records um band called Wilco. They had a back in 1998, they had an um album called Summer Teeth. And they were kind of a cult band, uh cult, that's not the right word, but they were um they had a specific following, and um that became a very famous photo. So these image, these this image right here, we just came up with a limited edition version and an open edition of those. So those are actually can be purchased on the on the website.

SPEAKER_01 23:58

How'd they choose your how that's I'm reading about America? I think I've heard the name American Rock Band in Chicago. Are they still are they still around?

SPEAKER_00 24:07

Yeah, they are, and they have quite a following. And uh Wilco, you know, people who are Wilco fans, they're just you know. Um, so what happened was we had a deal with what was called Corbis, and it's no longer in business. Yeah, but they were purchased by the Visual China Group in 2016, and then they're they're contracting Getty Images is now their contracting arm. And I decided not to continue the deal when when that purchase happened. But for 20 years, we had a deal with Corbus. So the Summer Teeth album came out of that. They were um licensed, you know, and and the story goes that Jeff Tweety, the head of the band, saw it on the website, the Corbus website, and was like, wow, that's what we want on the because he was kind of trying to do a you know what what people would call maybe not so flatteringly, bubblegum pop.

SPEAKER_01 25:03

Yeah.

SPEAKER_00 25:03

So they he found that image on the Corbus website, and he's like, that needs to go on this album. So yeah. And it's actually one of their most famous at the album covers, yeah.

SPEAKER_01 25:13

So they just found it like it ran them and they found it. What a perfect.

SPEAKER_00 25:17

I guess so, yeah. You know, and uh yeah, so so that's kind of a fun thing too. So that that and the sit-in image are probably the most famous, you know, of his images.

SPEAKER_01 25:28

Did that make you did that make you become a Wilco fan?

SPEAKER_00 25:33

Did that make me a Wilco fan? Um I at the risk of you know alienating that partnership, I would say that I'm not the biggest fan of their music, but it's you know, I mean, uh every everybody loves them. So, you know, I just you know, I like jazz, so I didn't so much get into it.

SPEAKER_01 25:54

But when your dad was taking these pictures, or when he retired from pressure press photography, did he have plans to do anything with these pictures, or what was his eventual goal?

SPEAKER_00 26:04

He did. He really desperately wanted to, and the problem was he was just beset with all kinds of physical problems. You know, he had lung cancer at one point, you know, I had to have a quintupal biomass surgery. So he did have a couple of exhibitions, um, but he just didn't have, he really just didn't have the energy to, you know, do it and uh what he wanted to do, you know, books and and all kinds of things. So that's where I'm kind of trying to pick up the mantle and you know, preserve, mainly preserve this history. Because interestingly, and this was true across, as I learned, you know, doing a lot of research, this was true across the all the board, you know, in the US. A lot of these newspapers, you know, they these images would be in what they called the morgue. Right. And the reason they called it the morgue was it meant dead news because, you know, back in that day, they didn't think about monetizing photos or anything. And so the the newspaper was good for wrapping your fish the next day, you know. So basically, a lot of these newspapers just destroyed them, they just threw them away. And my father was one of the few photographers on the Greensboro News and record who saved all his negatives in his office. And then when he retired, they said, You you can have them if you want them. You know, it seems kind of crazy these days, right?

SPEAKER_01 27:36

Right.

SPEAKER_00 27:37

So we later kind of just, you know, clarified the the rights and so forth. So, you know, we own the copyrights. Yeah, I should say I do, because I'm the only living relative now. But yeah. So that that was kind of interesting. So to be able to preserve, so for Greensboro history, in a way, this is it. You know, my dad's photos, he covered 30 years of Greensboro history, you know. And like I say, so many of the images had national interest. You know, you covered a lot of the polio epidemic too, um, and some of those major events.

SPEAKER_01 28:13

So Greensboro, I assume there's a Greensboro museum of some sort.

SPEAKER_00 28:18

Well, the the the the Sidden images are actually in the um uh the this famous one of the four of them, that's the only one of the four uh coming down the street. That is a Florida ceiling uh image in the International Civil Rights Museum and Center in Greensboro, which is on the site of the um trying to find it again, um, is on the site uh of the sit-in. So this image right here, there's a Florida ceiling uh, you know, image of that. So uh, and that is a wonderful museum in Greensboro. It goes into, you know, a lot of civil rights history, not just the sit-ins, but yeah, and they and they preserve that uh, you know, the lunch counter and everything there. I highly recommend people, you know, go see that museum.

SPEAKER_01 29:17

So let me ask you, Ann, back to what we've been looking at first of all. In terms of the website itself, if somebody wants to look at it, I strongly recommend that they do. Um, what's the website?

SPEAKER_00 29:28

So it's the Jack Moby, it's Jack Moby's dot com. So that's J-A-C-K M O E B E S dot com.

SPEAKER_01 29:41

Okay. And so if they go there, they can uh take a look at some of the stuff we've been looking at, right?

SPEAKER_00 29:47

Right. And when when they first arrive there, uh you didn't see it here, but when they first arrive there, uh there'll be a pop-up screen where they can sign up for the newsletter if they want. I don't send out a lot of, you know, it's not like I'm sending things out every day or anything. In fact, kind of rarely, but if there's going to be an exhibition or a sale of certain prints release, you know, uh, then you know, they can get new, they can sign up for news of that. So and just they might just find the the the website itself interesting to to kind of tool around in.

SPEAKER_01 30:24

But it just mentioned something kind of interesting, also, so that um you have a shop um option there as well.

SPEAKER_00 30:32

But if somebody sees something on this website, they'd like to get a picture of it, they can contact you or they could get yes, yes, and I can make prints, you know, on demand. And also I do a lot of licensing of the particularly the sit-in images. So we license those um to you know, organization like I just um did I've done a couple of licenses for the Smithsonian. I've you know been, I mean, so probably every week I'm getting some sort of request um to to use the sit-in images in a documentary or you know, a book or something like that. So those are the most, you know, those are the most licensed. But I'm hoping that people will see some of these other, you know, integration of the schools and you know, that kind of thing, polio uh uh epidemic and that kind of thing.

SPEAKER_01 31:25

And I guess your dad would be proud of you in the sense that um that's where the legal training came in. So that um, you know, helping in terms of spreading the word or licensing or get getting up to the city.

SPEAKER_00 31:36

Yeah, you know, that really helped because I from very early on when I I was um first barred, you know, um got my bar my my law license back in you know '85. That's when I began helping my dad. I did the whole deal with Corbus and we had to do some deals with the newspaper to kind of just confirm the rights, you know, and so forth. And um I was very involved um in helping him in the early days. And and at least, you know, he wasn't able to do all the things he wanted, but we did have that deal with Corbus for many years. So they licensed a lot, you know, a lot of his images. I think about they they accepted about 260 of his images to license. So some of the ones that that got licensed quite a bit were, for example, uh that image of Elizabeth Kubler-Ross, who wrote Death and Dying, you know, some things that you wouldn't necessarily have thought, you know.

SPEAKER_01 32:38

So uh moving forward, and then at this point in time, uh best bet in terms of finding out more about this, is go to the website which you mentioned, jackmobies.com. And also um just what you're doing with us, which is fascinating, just browse around in that. There's a lot of fascinating stuff, beautiful stuff. But it's all black and white though. Is that correct?

SPEAKER_00 33:02

It's all it's all black and white on this website. Yeah, I don't really, and I really don't have much in terms of you know color on you know, other uh color of his, but but it's for people who are aficionados of black and white, and one thing I wanted to point out here, I have a gallery called Comedy and Tragedy because I think my father was very good at um seeing irony in things. And for example, here's an image of a car that actually drove through a drive-in restaurant. Um, and I he told the story about how the other photographers kind of covered the bloody morass, but he happened to notice that it was actually a drive-in that he drove through. Um, this is a man who unfortunately died in a cave-in. Um, this is like a malfunction of a, you know, um a majorette's dress, um, just things like this, something that looks like a football player lost his head. But he loved that kind of irony. Um, there's one in particular, here's a man sitting on top of a Christian science reading room, a construction worker. And this, you know, unfortunately is a man who lost everything, you know, in a fire, and he's holding this little cigar cigar box with, you know, presumably his only possessions, which is kind of sad. But those are the kinds of things, you know, here's the mule coming out of a car and the kids are all into it, uh, snowball fight, you know. And this one I love is a he caught this man who was bald, sort of wistfully looking at women's wigs in a store window. But he would sometimes, you know, he had he had assignments, you know, to go to, but then when he didn't have an assignment, his job was just to tool around and get pictures, which is why he just so love you know his job, you know. So I I hope people will um, you know, be interested in that very important piece of 20th century photography and um you know, and aficionados of black and white too like I said, just me just appreciating that the photo is so cool.

SPEAKER_01 35:20

And so if anybody's watching this or listening to it, definitely get to that website. I think you'll uh be impressed. And I guess lastly, when they go to the website, and you said there's a way to get more information that you can um get in touch with them in the future.

SPEAKER_00 35:34

Yeah, so um, and just on the end of this, I'm putting up some portraits too that he did of people. Um yeah, they can when they first they when they first come to the website, there should be a pop-up that allows them to put in their email address to be able to get email blast, you know, newsletter, um, which will, you know, talk about any news like uh exhibitions or you know, releases of print sales or whatever. They can also go to the contact um portion. Let's see if I can get to it here. Um so they can also do it that way, and you can subscribe down here to the news.

SPEAKER_01 36:15

Okay. Well, and again I I'd like to uh thank you again for being a guest on this edition of the Blaine's World uh podcast.

SPEAKER_00 36:21

Thank you so much. I'd also like to thank my producer Kim Jones, and um hopefully we'll um stay in touch either through this fantastic dad dad of yours, very talented dad, or and I'm also interested to learn that your photographer your father was into photography too, so I'd like to see some of his stuff.

SPEAKER_01 36:43

No, it's just it's so interesting because again, you grew up in it, and I grew up on it a little bit, but he just did that as a side thing. But he he had a real talent for it, and obviously you your dad did too. So after he retired, what did he do?

SPEAKER_00 36:59

Well, I mean, he did work a lot on you know going through his negatives and kind of putting notes on him and annotations and things like that. He did do a lot of that, and um, like I say, unfortunately he had a lot of medical issues, but um, so yeah, but but he tried that I I would say most of his time was spent on that. And then he and my mother would sometimes go, you know, travel with some of these, like you know, road scholar and stuff. Like they they like to do those, but yeah.

SPEAKER_01 37:30

Okay, anyway, and always like thank you again for being my guest, and I'm sure we will be in touch in the future. That'd be great.

SPEAKER_00 37:38

Sounds good. Thank you so much, Blaine. I really appreciate it.

SPEAKER_01 37:41

Okay, well, this is uh always fun, and um I'm gonna stop recording, but then stay with me in just a second. Okay, great. Okay, speak to you soon.