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New Zealand is an island country of

four and a half million people;

a nation of immigrants,

both recent...and from long ago.

So the family came out from England

in the very early part of the 19th century.

They felled and milled timber to

grow a new nation.

It's a land of hillsides dotted

with sheep and cows.

Here with us we have 29,000 sheep

and about 2,400 cattle.

And New Zealand's abundant

coastline teems with fish.

The most important thing I enjoy

about fishing is we see dolphins

and whales and sharks

and penguins and turtles,

and you see all of these things.

When you stand here on this land,

you cannot help but marvel at the

natural beauty.

It's truly astonishing.

It's hard to imagine that thirty

years ago New Zealand was on the

brink of economic collapse.

I mean, it was tough...losing a farm,

and my childhood dreams of owning a

farm had been dashed.

It ruined some lives.

There was some real pain out there.

Some real pain and some real hurt

and some real anger.

I had some good personal friends

lose everything they had through

those times, and it was bloody hard.

The country was in crisis,

and it was clear that something

drastic had to be done.

New Zealanders,

affectionately called Kiwis,

took the painful steps required to

stop the downward spiral,

and bold reforms were voted in.

I'm Johan Norberg and I'm here in

this beautiful land to share the

story about how the Kiwis took the

bull by the horns,

reformed their country and became

genuine trailblazers for the world.

Major funding for this program was

provided by:

The Donald and Paula Smith

Family Foundation.

Additional funding was provided by:

Donors Trust Incorporated.

If you can imagine this,

we were a benign North Korea.

Everything was controlled

by the government,

and I mean everything.

You had to have a

permit to go on a holiday,

and get the money for travel.

I remember my father bought a car,

and he had to put his name on a

waiting list for like six months.

And then you had to go into a lottery.

It was dreadful.

There used to be a 6 to 9 month

waiting list to get a telephone put on,

and this is in a house that had all

the infrastructure in place.

We're a dairy-producing country,

so if you wanted to eat margarine,

you needed a doctor's letter of support.

It was crazy.

A pair of working boots

manufactured in New Zealand were

probably three or four times the

price of a pair of boots in the

United States.

It meant everything that we had

here was expensive,

or way more expensive

than what it could have been.

In 1960, New Zealand was the 3rd most

prosperous country in the world.

Twenty years later,

it had fallen to 18th.

No one was untouched by the decline.

New Zealand's parliamentary

government had evolved into a

controlled system that dictated

everything from salaries to the

manufacture of staplers.

But the heart of New Zealand's

economy wasn't manufacturing,

it was agriculture.

And families who had been farming

here for over a century were the

backbone of New Zealand's

agricultural economy.

Families like the Cashmores.

Yeah, so this property is just under

5,000 acres.

So on it are just under 4,000 ewes

and just under 400 cows run on it.

Our income is around 40% from sheep,

15% from wool,

and the rest from cattle.

I've got two boys.

Robert is managing the home farm

operation here.

In 1840, New Zealand became a

British colony.

Then, in 1852,

the colonists were granted self-rule.

But the British influence continued.

So the family came out from England

in the early part of the 19th century.

So William Cashmore was the first

member of our family to come here

and he was my great-grandfather.

He rode in here as a young man,

no road, no nothing.

They felled and milled timber to

grow a new nation.

Then they started grazing stock.

They just- they got bigger and bigger.

The British needed meat and wool

and New Zealand provided it.

By the 1950s,

Kiwis enjoyed some of the highest

incomes in the world,

although the United Kingdom was by

far New Zealand's main market.

Bill Cashmore grew up working on

his family's farm in this stable,

growing country.

In his late 20s, he met Lynn,

his wife to be.

I didn't come from a farming background;

I came from a farming town.

I've been here 34 years...and

yeah...I can't get her to leave.

(laughs) I like it.

We used to sell everything to the

UK back in the day.

In my father and grandfather's day

everything went to England.

After World War II,

the New Zealand government started

to regulate farming output and

prices in an attempt to steady the

income of farmers.

In the 1960s,

New Zealand's government introduced

financial subsidies to help farmers

increase production.

But in the 1970s,

the UK became part of the European

Economic Community and the Kiwis

lost their favored trading status

with Britain.

Demand for exports dropped.

In reaction, the New Zealand

government added even more subsidies.

Whether Bill Cashmore wanted them

or not, government subsidies shaped

how he ran his farm.

What we did have was guaranteed

prices and we received things

by the government.

It got to the point that a third or

more of our income was being

supplied from central government.

So let me tell you about what I

call the skinny sheep policy where

farmers were given a dollar a sheep

I think it was,

50 cents or something, and it was nuts.

Because the more you ran the more

money you got paid to do so,

but it didn't mean that the quality

you were producing was any better

or was it good for the environment

having overstocking on marginal land?

No, it wasn't.

The subsidies led to over-use of fertilizers,

overcrowding of livestock on the land,

and using land that wasn't suited

for farm animals at all.

By the early 1980s,

it was clear to most farmers that

the subsidy program wasn't working.

Not only were farmers in trouble,

the whole economy was

grinding to a standstill.

No industry was untouched by heavy

government controls.

There were controls on wages, prices,

dividends, rents and so on,

to import almost anything you were

required approval from the central bank.

To give you an idea how extreme it was,

when my grandmother, who was 70,

wanted to read a British magazine,

she had to get permission from the

treasury and had to write a letter

to explain why she should be able

to receive that,

rather than going to read it in the

public library.

New Zealand was founded by people

who broke a lot of rules to get here,

and who genuinely wanted to be

liberated from the shackles of

fiefdoms and control by lords.

And the strange part was they kinda

swapped it for the fiefdom of the state.

Tom Palmer has worked in over 90

countries around the world,

partnering with local organizations

that are fighting for individual

rights and economic liberalization.

New Zealand had followed a model in

the past that the government should

promote certain industries and

jigger the rules,

so those industries will be

selected as winners.

And so, the government had to subsidize

and create all kinds of

manufacturing for automobiles

and television sets, and so on.

So one of Dad's businesses in the late 70s,

early 80s, was an importer for

televisions and VCRs.

The only way to do that was to

bring in TV sets in pieces.

And because of the

New Zealand regulations,

they had to be assembled

in New Zealand,

even though none of the parts were

made in New Zealand.

So we go to Japan,

sit down with these Japanese and

try and explain to them that

we'd like them to effectively

disassemble their TV sets,

send them to us,

we will build a factory,

screw them all together,

put them in a box,

put them back on the shelf at

twice the price.

We were required to do that by the law.

The Japanese thought that they were

completely nuts.

And, of course, it was completely nuts.

This was not adding value.

This was busy work that subtracted value.

It made everyone in the society poor.

What you have to appreciate is that

New Zealand was a controlled

economy by the government.

Anything that was

brought into the country,

you had to have a license for.

So if you had a license to say

bring in tires, or machinery,

it was a license to print money, basically.

It was a pretty cool deal if you had it.

We didn't have one of those, unfortunately.

The trouble was the whole tangle of

regulations and controls and subsidies.

And New Zealanders knew it

wasn't working,

that's when the trigger went off

for highly, highly radical reform.

By 1984, the economy was collapsing.

After nine years spent denying the

economic reality surrounding him,

Prime Minister Robert Muldoon,

leader of the National Party,

was feeling his support dwindling,

and he suddenly calls a late night

press conference to announce

new elections.

Have we got a date, prime minister?

We've got a date the 14th of July,

which we worked out in government

house as being the appropriate day.

That doesn't give you much time to

run up to an election, prime minister.

It doesn't give my opponents much

time to run up to an election, does it?

The New Zealand people,

if they want me to lead a government,

they'll vote accordingly.

If they want that other bloke to

lead a government they'll vote for him.

That's it...right?

Yup, that's it. Okay.

9:30 p.m., Saturday the 14th of July,

1984, a moment of political history.

Muldoon and the National Party lose

in a landslide and the Labour Party

takes control.

David Lange becomes prime minister,

and within days a new finance

minister is appointed.

He is Roger Douglas.

Well, I think that New Zealand has

tremendous potential;

it has to be remembered that in

1956 we were the richest country in

the world.

We've slipped down.

One of the big things that we did

was to take immediate responsibility.

There was no point dwelling on what

Muldoon hadn't done over nine years.

When you were elected it's your

responsibility, you own it.

New Zealand's finances were in

worse shape than anybody thought.

When we met with the reserve bank

and the treasury,

they explained that the country had

run out of overseas funds,

we had run out of people to

borrow money from,

and the next loan was due in two

weeks and we couldn't pay it.

Douglas had a tough love vision for

New Zealand's future.

We took interest rate controls off;

we got the wage controls off;

so we did a whole lot of

things immediately.

We took away a lot of support

for manufacturers.

We opened up import licensing.

We took away or removed privilege.

We just got rid of government

handouts to special interest groups.

Roger Douglas was very concerned

about low-income New Zealanders.

He was in that sense quite

traditionally left wing,

but he'd come to the recognition

that the normal policy measures one

associates with the left wing

simply were not working.

Many of the first reforms affected

the farmers directly.

Within 6 months,

all farming subsidies ended.

The Federated Farmers supported this,

but only if trade restrictions were

simultaneously removed.

This way the cost of farm

equipment would drop,

and farmers would have access to

world markets.

New Zealand got rid of the whole

raft of that sort of thing.

Farmers had better access to

imports like tractors and other

goods that they had a harder time

getting before.

And it was interesting because it

taught me a lesson that if you

package the reforms as we did,

that becomes the key to acceptance

because whilst the farmers might

have been unhappy to lose all

their subsidies,

they gained by the fact that they

could import from anywhere in the

world cheaper.

The dramatic wave of reforms was

dubbed "Rogernomics."

Virtually all industries were affected.

I think you know that it is going

to be a difficult transition.

On the other hand,

my responsibility was to look at what

was best for the whole of New Zealand.

Shockwaves reverberated

around the country.

From my personal point of view,

we went broke on the farm partly

because of those reforms.

All subsidies for agriculture were removed.

So our income dropped

30% overnight, bang.

Changes for New Zealand farmers

happened fast and hit hard.

Interest rates soared and property

values plummeted.

It was happening so fast that you

could hardly get used to one before

the next one was rolled out at you.

Lynn went back to work full-time,

and I worked every weekend either

shearing sheep or

fencing on other farms.

On the weekends

it was all hands on deck,

it was get out there and do what

needed to be done,

especially when we lost our labor unit.

Robert, our eldest boy,

every weekend he'd be with me

helping me muster or draft sheep or

swinging on a brim when I was

crutching 20,000 sheep on my own.

Those were bloody tough days.

You were lean, mean, but determined.

We sold our share of the farm

out to our partners,

and the price we sold out for meant

that we lost quite a bit of money.

I mean, it was tough.

Losing a farm and my childhood dreams

of owning a farm had been dashed.

But hell, in hindsight it was the best

thing that ever happened to me.

I was in my early 20s,

so I was adaptable,

I could go and do other things.

For most the decision was clear...

adapt to the new economic reality

or lose the farm.

Then things started to improve.

So I've done a combination of things.

We've used smart genetics;

we've used better management practices.

Same number of ewes,

same number of cows,

but they're producing 30 to 50% more.

Across New Zealand,

farmers who managed to hang on to

their land were able to compete in

the international market as never before.

Well, we didn't have a choice.

New Zealand is a little wee country

at the bottom of the world.

So we have to compete by selling

beef to the United States,

lamb to Britain and Europe and China,

and wool everywhere and fruit and

vegetables and everything else we do.

We've got to ship it there and

still sell it cheaper than what you

can do it.

So we have to compete.

Before Rogernomics,

New Zealand farm productivity

gains were about 1% a year.

The Federated Farmers of

New Zealand reported that in the

20 years after the reforms,

productivity gains soared to

5.9% a year,

an improvement of almost 500%.

There's no way I'd ever go back to

anything that's got government

involvement in it.

One thing I've learned is that individuals,

given the right incentives and the

right signals from the politicians

will deliver.

So let people make their own

individual choices.

Let them work hard,

make those sacrifices to achieve

the things they want for themselves,

for their family,

and for their communities.

That's what delivers.

You try and spread the benefits

out everywhere;

you get a very thin smear that

doesn't achieve much.

Agriculture and farming,

and working and business is in

our blood in this family;

it's in our genes.

And long may it continue.

New Zealand's riches lie not only

on fertile farmland,

but in the oceans as well.

These are some of the most abundant,

scenic fishing grounds in the world.

Fishing is both a way of life here

as well as a major industry.

A lot of times we'll work 24/7.

So we won't get much sleep longer

than two hours.

We're fighting the elements and we

only get paid on what we catch.

So, we're not on an hourly rate where

we're going to get our twenty bucks.

You have to be able to pay for the fuel,

pay for the ice before we can put

any money in our pocket.

We got to put the fish on the boat,

and then export it.

So that's a big responsibility for

the skipper and the crew,

knowing that someone in America or

Britain, or Australia is going to eat this

fish in about three days' time.

It's got to be top-notch.

Roger Rawlinson's ancestors,

Maori, first settled these islands.

Crossing the Pacific,

navigating by ocean currents and stars,

they found their way from Polynesia

to the shores of New Zealand.

Centuries later, the British arrived.

In 1840, they signed the

Treaty of Waitangi with several

Maori chiefs from the North Island.

The treaty granted the British sovereignty,

but also recognized Maori rights to

their ancestral lands and their

fishing grounds.

Fishing is an important part of

Maori culture.

There were birds here in New Zealand,

but there weren't many mammals;

there's not a lot of other things to eat,

so fish played a big part in our

lives for the first 1,000 years we

were here.

And it's going to play a big part

in our lives for the next 1,000.

Today, like Roger Rawlinson,

many Maori make their livelihood

from the sea.

I left school when I was 17.

So I pretty much started fishing in

our little dinghy.

After a couple of years,

our 12-foot parker craft dinghy was

no longer useful for us,

so we decided we'll get something a

bit bigger.

We got up to about 15-foot,

which to me was a big boat,

and we decided we'll set more nets,

we'll catch more fish,

we'll work harder, work longer,

and that proved to be successful.

It's not only the Maori

using these waters.

Thousands of non-Maori fishers

harvest the seas, as well.

But there isn't an unlimited number

of fish in the ocean,

and indiscriminant fishing harms

underwater ecosystems.

In 1977, New Zealand began the process

of expanding its economic boundary

from 12 to 200 nautical miles.

And in 1982,

when the United Nations Convention

on the Law of the Sea formalized

the 200 mile limit for all coastal states,

New Zealand's fishing zone became

one of the largest in the world.

By that time,

fisheries in other parts of the world

were collapsing due to overfishing,

so there was a huge demand for

New Zealand's fish.

Fishermen with every kind of boat

from 15-foot long-liners to giant

factory trawlers plied the ocean

catching as many fish as possible.

New Zealanders, too,

were in danger of destroying

their own fishery.

It was just a free for all.

It was just a pretty wasteful

process because there was a

lot of fish caught.

It was clear that some species in

the region were about to be

completely wiped out.

The entire ocean ecosystem

would be impacted.

New Zealand's government had been

regulating the fishing industry by

mandating what gear could be used

and how it could be used,

but there were no conservation

limits on total catches.

Many fishers simply ignored the laws,

taking an "everyone else is doing it,

too" mentality.

There's no future if catches continue

the way they are at their present rate

and with the number of vessels

hammering away at the very

small patch of fish that's here.

One by one, Rogernomics was

transforming many industries.

It was now time to reform the

fishing industry.

In 1986, the government,

scientists and the fishing

community worked together to come

up with a new system called the

Quota Management System,

or QMS.

The QMS would determine how many

fish of each species could be

harvested each year,

while ensuring fish stock sustainability.

Catch limits were then put in place.

So in the early 80s,

we had a change of government who

looked to free up our economy,

to set quite strong rules,

but allow that to form an even

playing field for private

enterprise to develop things.

We decided that the only way to do

it was to set a conservation limit,

a quota or a total allowable catch,

on each of the fisheries and allow

the industry the flexibility to

determine what method they used and

how they harvested.

But the QMS didn't stop there.

Each individual fisher or fishing

company was allotted a percentage

of the total harvest based on how

much they had caught in the past.

That percentage could be sold or

leased like any other property right.

Now the fishers could trade, sell,

or buy more quota based on their

own individual needs.

The incentive changed from catching

as much as you can,

to making the best economic return

on the catch within your quota.

So at that time,

I was a much younger fishermen;

wanted to keep building.

So I thought I'll buy some quota

and at that time,

five ton of quota was worth about

$12,000 a ton to buy, $60,000,

and my home was worth $120,000.

It was a big call to invest in a

piece of paper for half the value

of your home.

My wife was very worried about it.

To buy a piece of paper half the

value of your home,

she was not too happy about

mortgaging the house to do that.

Just as there's a limit to the land

that's available for development,

there's a limit to the number of

fish and ocean space.

With quota ownership,

fishers gained a direct benefit

from protecting the fish population

and the ocean environment,

much the same as farmers gain

direct benefit from protecting

their livestock and farmland.

And so, a fishery on the brink of

disaster started making a comeback.

The fishers achieved what previous

regulations failed to accomplish.

Dave's gamble to mortgage his house

and buy more quota paid off.

The $60,000 quota investment he

originally made is now worth

nearly $300,000.

I've got 6 little long-line boats,

long-lining for snapper, terakihi, gurnard.

Since the introduction of the quota

system in 1986,

I think the snapper fishery here

has probably doubled,

I think, according to the science.

It's actually easier to catch fish

now than it was pre-quota.

QMS is really good for the fish.

You can actually catch a lot more

fish for a lot more of the year.

And we've got a really robust

system where we document every

fish that we catch,

and the area that we catch it.

If there is possibly over-fishing

in certain areas,

they can decide we're going to drop

the quotas for a year and see

what happens.

And that can happen quite simply

and quite easily.

So therefore, for us as a fishing industry,

we can manage that ourselves

without government intervention.

One of the side effects is that you

actually have very strong

conservation ethics built in

because conservation is good for

business because sustainability is

good for business.

The first instance is to get the

by-catch over while it's still alive,

some of skates, stingrays,

some of the small snapper that

might be still in there,

we'll measure those out,

and get those back ASAP to give

them a chance to swim back, yeah.

Brightly colored streamers are hung

from long lines to prevent seabirds

from chasing the bait on the hooks.

Other new techniques increase

sustainability as well.

Like gillnets that minimize by-catch,

or acoustic pingers that warn

endangered dolphins,

keeping them safely away

from fishing gear.

In the end,

the discerning buyer around the

world wants to know that not only

is the quality great,

they also want to know that their

fish isn't being caught in a way

that's harming any other parts

within the sea environment.

So what happens on board is crucial.

As a fish comes off the line,

its ikijimi spiked in the old

Japanese technique,

which means that the fish dies

without any stress.

We put it in straight in a

polystyrene box and on a plane

within hours of it coming off the water.

We're in the world famous

Fulton Fish Market.

We're known as the second largest

fish market in the world.

On a daily basis we'll move

anywhere from 100 to 300,000

pounds of fish.

We've been buying fish from Lee

Products for the last 19, 20 years.

What's unique about the fish out of

New Zealand is the quality of the fish.

At times we can't get the quality

this good from our local fish,

which is about six hours away,

and these are more than two days away.

So that's one of the unique things.

I don't know how the fishermen do it,

how they preserve the quality of the fish,

but the fish are fantastic.

There's been dozens, if not hundreds,

of articles and coverage over the years

about our amazing system, our QMS.

There's been peer review,

independent articles,

comparing what we do versus the way

other nations manage their fisheries,

and we always come up right towards

the top there.

Fishermen here have a unique

connection to the sea,

a sense of the past,

and a commitment to the future.

But it's perhaps the island's

indigenous people, Maori,

who hold the strongest connections.

We want to be here for a long time.

So I've got my kids coming through,

I want them to be able to say in 30

years' time, "Dad did the right thing."

And then I'm leaving something for

them for the future and their kids

for the future.

Although Maori had been fishing

these waters for 1,000 years,

the Quota Management System

initially didn't include them.

So they turned to the 1840 Treaty

of Waitangi and took legal action.

In 1989, Maori were granted 10% of

the total allowable commercial catch.

In 1992 Maori were further provided 20%

of new species brought into the QMS.

Through the settlement of treaty rights,

and through some very good

business decisions,

they're probably now in a position

of more than 30% of the industry

that either own or have control over,

so they're major players.

I can tell that you we own about 35

to 40% of the commercial fisheries,

even though our population is maybe 12,

13, 14% of the national population.

So for me, for instance,

I'm a registered member of the

Ngati Awa tribe.

As I've aged I'm moving towards my

roots a lot more.

It's becoming more and more a key

part of my life.

How the impact that I make on not

only the fishing stocks,

but on other people as well,

that people are starting to look at

me and say,

"Roger, you've been successful.

You're a Maori fisherman."

Before that I didn't used to think

much of it.

But now I'm thinking a lot more of it,

but I still like to think of myself

as a fisherman foremost.

Today, Maori maintain their language,

traditions and the Marae,

an important meeting ground for

each tribal community.

And much of their culture has been

integrated into general Kiwi culture.

Amazingly, the Treaty of Waitangi is still

being used today as a guideline to

help settle disputes.

It's unusual in Western

civilization that a 19th century

treaty with indigenous people is

still relevant today.

Some young Maori who seek a

connection to the past,

study the old traditions.

The meaning of Haka,

the "Ha" and the "Ka",

so the "Ha" is the breath of life.

The "Ka" is the energy that we burn.

Through high school I found a

strong passion for not only Haka,

but for the culture as well.

The design is sort of planning to

show off a bit of cultural beauty.

Usually the girls will just get

their chin done and the boys would

get either a half-face or the full face.

Traditionally, the Haka was performed

by Maori warriors to intimidate

their opponents.

Today, performing the Haka is an

embodiment of a centuries-old

Maori tradition,

and it's claimed an imprint on a larger,

cross-cultural New Zealand identity.

In fact, New Zealand's rugby team,

the All Blacks,

ritually performs the Haka before

each match it plays.

I'll just back it down, Robert.

Remember Roger Beattie,

who said losing his farm was the

best thing that ever happened to him?

He began diving for abalone,

or as Kiwis call it, paua,

and a new business was born.

I started diving around that '84

period and we'd go out and dive

off the shore.

And I can remember we were getting

$1 a kilo at the time.

Before the reforms,

there were only 5 licenses to

export canned paua.

But, with the new QMS,

the market opened up and Roger

jumped in as a harvester.

True competition came into the

marketplace and our price came up

to the world price.

It was onward and upwards from there.

Then I bought more and more quota.

I could see that the abalone game

was a good one to be in.

But Roger always had an eye out for

new opportunities.

The abalone, like the oyster,

is capable of producing pearls.

They're very rare in the wild,

and we did a bit of experimentation.

This is an abalone, paua,

New Zealand paua,

and we've got a couple of pearls in there.

The natural product doesn't suit

most jewelry manufacturing,

they like a uniform size.

Roger experimented with a new

technique to induce farm-raised

abalone to produce smooth,

symmetrical pearls that can be

made into jewelry.

It worked.

So we nucleate them with a half-round,

it's a half-round mabe,

and we put it against the shell and

then three years later we harvest it.

So it takes a long time to lay that

nacre down.

Okay, what I'm doing here is I'm taking

off the paua where you've got to be

very careful with it.

We started off with two barrels in

the water and then moved up to 10,

and then we manufactured

our own barrels,

and then we moved up to

50 barrels and then to 100,

and then several hundred;

and just got better and better at

it all the time.

I'm putting it back in the water.

It'll go back in the water for a

week and then we will bring them

out and feed them again.

Over the next five years,

Roger's business grew,

just as many other small

entrepreneurs were able to adapt

and thrive during the rapid changes

in the New Zealand economy.

But, this wasn't an easy transition

period for everyone.

By 1990, Roger Douglas and the

Labour Party had shaped the economic

landscape here for six years.

Changes had been difficult,

and the Labour Party had fallen

out of favor.

After the 1990 election,

the National Party came back into power.

Another no-nonsense finance

minister is appointed.

She is Ruth Richardson.

It's like a passing of the baton

in a relay.

I was able to do a sprint that he

wasn't able to with the reforms.

So in some sense it was a 1-2 punch.

In both cases,

reforms moving in the direction of

greater openness,

greater transparency,

greater government accountability,

and better incentives for the

private sector.

So take our agricultural sector,

and take the meat industry

and the slaughterhouse.

So, you had a closed shop- and I say

this as a feminist as much as a

finance minister- you had a closed shop.

The boys had all the good jobs;

they stopped the women doing the

jobs that really paid well.

You had to belong to the union,

and the union said who worked where

and for what wages.

There were 25,000 people working in

the railways.

You know 25,000 people only needed

to be 5,000 people.

So when you disrupt 20,000 people

who are in pretend work,

how are they going to re-enter the

workforce if you've got all of

these closed shop arrangements?

All those things was a form of

privilege that helped a few people

who were employed in that industry,

but cost every other New Zealander-

including the low-income- a lot of money.

And in 1994 the job growth exploded.

People were free to work.

New Zealand, I think,

got the combination right.

They reformed the private sector,

and they reformed the public sector,

basically at the same time.

New Zealand also started applying

private sector accounting

disciplines and transparency

to the public sector.

This is not the case in the vast

majority of countries around the world.

In fact, if private businesses were to

report their financial books

according to the same standards as

government accounting,

it would be deemed illegal

in most countries.

In New Zealand,

government officials could no

longer get away with a lower standard.

Roger Beattie discovered there was

potentially a large international

market for the kelp he was

feeding his paua.

He used the QMS to increase his

quota to harvest the seaweed,

and started yet another business.

Okay, so this seaweed

here is macrocystis.

This is native to New Zealand.

I have quota for this species,

and we feed this to our paua.

We developed a brand called

Valere Kelp Pepper,

and it looks like kelp,

looks like pepper.

It's got a salty taste.

We dry it slowly,

we don't cook the goodness out of it,

and we retain the color.

So we retain all the essential

nutrients that the kelp has.

New Zealand has fundamentally changed.

If you went out to farmers before

the reforms of '84, and said,

"Would you do away with subsidies

and exports incentives?"

Most of them would say,

"Hell no." If you asked them now,

they would say,

"Why would we want to have subsidies?"

Because the beauty of our current

system of no subsidies is if

there's a world change in thinking,

or the marketplace,

or something happens overseas,

New Zealanders change overnight.

So we are adaptable,

and why would you want to go back

to a system that just protects old

dying industries?

As Roger's ocean-based enterprises

began to thrive,

he and his wife, Nicki,

were able to fulfill the dream they

had started out with,

to own their own farm.

We wanted to buy a farm on the

coastline that had abalone farming

potential and had a native bush on it,

and hill country to keep me fit

since I wasn't diving anymore.

I have a very supportive wife.

She does roll her eyes when I try

and get into a new business,

but she's very heavily involved in

what we're doing.

She does a lot of the stock work on

the farm now,

and I joke with people that I'm now

a farmer's husband.

If you took a static snapshot the

day after the reform,

yes there would be people

displaced, of course,

if you just froze it in time.

But the world's not frozen in time,

there's a dynamic.

What does it unleash by way of the

human spirit,

the opportunity,

the new economic confidence?

The Douglas and Richardson years

resulted in a massive

reorganization of the government.

Civil Service reforms

streamlined productivity.

Many industries were taken out of

government hands and reorganized as

for-profit companies,

including the railway, airline,

telecom, and banking.

It's about getting rid of privileges,

it's about empowering the normal people,

it's about sweeping away all of the

special favors for the powerful.

Most of the big companies had

lobbyists who'd lobby the government

to extend to them this privilege,

or some other privilege.

Three years after

we were in government,

most of these companies no longer

had lobbyists, they'd save their money.

The life of the lobbyist,

it's a terrible,

venal breeding ground.

So you disintermediate the lobbyists.

You don't give them a reason to

face the government.

And not blinking is really important;

because if you blink,

then all the lobbyists will

come back to you,

and try to get you to change your mind.

Reform is not a one-night-stand;

it has moved New Zealand

unambiguously into a much more

competitive position.

We're one of the most open,

free countries in the world.

Because it wasn't just an economic

reform in response to a crisis,

they sat down and thought about

basic principles.

And indeed,

a whole bunch of new industries

have grown up in the country that

no one would have predicted.

One of the many new industries no

one would have predicted is organic

clothing made from New Zealand

Merino wool.

Here in New York City,

and in more than 40 countries

around the world,

people are buying Icebreaker.

So we're 100,000 acres in size,

or 41,000 hectares.

Here we farm merino sheep;

they're farmed specifically for

their wool rather than anything else.

I had this dream of living in New

Zealand and being involved in

something that was international.

I met a wool farmer in 1994,

and he gave me a merino wool

t-shirt to wear,

and that changed my life.

The feeling against the skin was a

total surprise.

Their wool is fine and soft and

pliable and it can be turned into

lots of beautiful products that you

can wear close to your skin without

feeling any kind of itch or scratch.

So I thought "maybe this is it."

So the question was: how can we

find a way to get other people to

experience this, right?

To do that, you just build a business.

So I just locked myself in my

bedroom for about three months,

and dreamed.

And then Jeremy Moon

created "Icebreaker."

His idea was to make outdoor

clothing from natural wool,

and sell it worldwide.

The first step was to get the wool.

And he came and saw mom and dad

when he first thought up the idea,

and wanted to have a go at it.

He had just finished university and

he had an old leather suitcase that

had been his grandfather's and he

had some samples of the types of

garments he wanted to make.

This is actually the very first

Icebreaker I ever wore that got

thrown to me by a merino farmer.

It didn't look very good but it

felt amazing.

So it was really about the feeling

and what we could do with it.

Even in New Zealand,

everything was synthetic.

It was the big irony of the

outdoor industry.

It's like, go into nature,

but wear plastic against your skin.

And he asked if we'd sell him some wool.

So we said yup,

we would give it a go.

He left and Dad sort of said to Mom,

"He was a nice young fellow,

but I don't know whether we'll ever

see him again."

Well, I, in particular,

was a bit dubious about his ability

to do very much.

Nevertheless, Jeremy forged ahead.

In 1995, starting out with just a

handful of products,

Icebreaker was born.

I raised $200,000 from eight

investors and I invested about half

of that money in design,

product design...getting our story clear.

And really trying to unlock really

what the spirit was behind the product.

In the first year we made a profit of $531.

I remember one of the directors said,

"This is the first company I've

been involved in where you can

drink the profits and still remain sober."

Then Sir Peter Blake,

winner of the Whitbread Round the

World Race as well as two-time

winner of the America's Cup,

put Icebreaker on the map.

Peter Blake took a pair of

Icebreaker underpants on the

ultimate road test, the sea.

He wore the same pair of long johns

for 43 days and 43 nights.

Part of the Icebreaker strategy was

to sell the story and the ethics

behind the clothing.

Sustainability is at the heart of

the business.

It doesn't make sense to be a

crusader for nature and natural

fibers without taking

responsibility for all of the

choices and how product is built.

Our fiber goes to a German

spinning-plant, based in Shanghai,

the highest tech lowest emission

plants in the world,

which then goes to a Japanese-Chinese

joint venture textile plant,

the best I've ever been in.

That means we can get access to the

newest technology,

the best innovation,

and the cleanest, highest

quality environmental standards.

So it's very, very different.

After a couple of years,

it was pretty obvious that he was

on to a good, good thing.

Icebreaker now buys merino wool

from over 140 farms,

covering two million acres.

Most recently,

the company signed the largest wool

contract in New Zealand's history.

Pre the reforms,

Icebreaker could've survived for a

period of time and we would

have then died,

because we would've been forced

into being less competitive than

the people that want to copy us.

And ultimately would've been a demise,

there's no way we could've

built Icebreaker.

We have had a long-standing

relationship with Jeremy.

Twenty years later he is still

buying the majority of our wool.

He always saw it, I think,

as something that was global and

something that would appeal to

people all over the world.

Here on this island nation of four

and a half million people,

Kiwis rewrote the book on how an

effective government and a free

economy can work together.

New Zealand has shown that a healthy,

sustainable economic system can

lead to a healthy,

sustainable environment.

The New Zealand experience I think

should resonate and is relevant for

big countries.

You don't need to live with

lobbyists and earmarks.

Just start with decent public accounts.

Just start with fiscal responsibility

codes that really matter.

So it was a huge upheaval,

the speed was tough for a little

country like New Zealand to handle,

but I don't think anyone would

debate it wasn't the right thing to do.

New Zealand has really pioneered a

system that I think the rest of the

world should look at very carefully.

The QMS system is by far the best

fishery system in the world today.

You can fish year round and know

that you're going to make a good

living knowing that the fish are

always going to be there.

The reason is that they got the

rules and the incentives and the

rights in order,

and instituted property rights,

in fish, and it worked.

We have no doubt we've got a really

great fishery out here.

What an environment, you know?

It's actually a privilege to fish

in a natural resource in New Zealand.

Good weather, bad weather,

we're outside doing it and loving

every minute of it.

In some ways, the pace of change

forced some radical

changes in farm management,

radical changes in how we marketed

and did things,

but the pain was over and we moved

forward- relatively quickly- in hindsight.

At the time it wasn't too much fun,

but we got through it,

now we're strong, you know.

So in America you have constant

controversies about whether agriculture

can really run on a free market;

whether farmers can survive

without subsidies.

New Zealand showed that they could.

I think that New Zealand is an

enormously different New Zealand to

the New Zealand of the 70s

and the early 80s.

It's a far more-worldly,

vibrant, open place.

I think Roger Douglas will be remembered,

and his work will be studied for a

long time.

He realized that the country was

going to go down the drain if he

did not propose something.

And he had the courage to do it,

and I think that was really

quite remarkable.

It's been a great story of Kiwi

ingenuity and not being afraid to

do something different,

and I think also having a real

global vision.

You know, it's wonderful...I couldn't

think of a better place to live.

New Zealand's reforms restructured

the government itself,

but also the government's relationship

with industries and banking,

ultimately creating job opportunities,

growth and accountability on all sides.

Since the agricultural reforms of 1984,

New Zealand's food exports

have doubled.

One area where land was

poorly-suited for sheep,

is now a thriving wine producing region.

Economics and the environment are

not mutually exclusive.

In fact, the two need to be married

together for the success of both.

Strong economies lead to the most

sustainable environments.

New Zealand has left behind the

stagnation of the past.

People here take great pride in

being a small country,

filled with enormous trailblazers.

After all, this is the country that

invented bungee-jumping!

Major funding for this program was

provided by:

The Donald and Paula Smith

Family Foundation.

Additional funding was provided by:

Donors Trust Incorporated.

For more infomation >> Trailblazers: The New Zealand Story - Full Video - Duration: 56:48.

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When I Had to Ask an Aeroplane for a Lift ! - Duration: 13:22.

Its 8:45 am

Today is 3rd October, 2016

I have just left Adam's house

I am going somewhere over there... down the hill

Then I'll again start Hitchhiking

It rained in the morning... and the vistas are beautiful

Meadows are looking amazing in the cloudy weather

Meadows are probably known as PASEKY in Czech language

So lets start the journey

Adam left early in the morning

He had to go somewhere in Brno

He was carrying a bulkier sack... much heavier than mine

Because he left early, We couldn't manage the Breakfast

Though he asked me, but I refused. I didn't want to trouble him

I was carrying things like chocolates, almonds in a pouch, but I think I have misplaced them

So, I am managing only with these biscuits

Besides the chocolate & Almonds, I brought bread, Nutella spread and these biscuits

Also, a carrot ;)

I'll buy some more things to eat after I reach the market

Can you see the white colored Church ? I have to go there

The village's name is called STRIBRNICE

Now I have left the road and walking across the fields

I am surprised by the pin drop silence in this village

Its 9:10 am, not the wee hours of the night

I can not see any activity in this village

Yes, I can hear the dogs, but not Human beings

I am going to the next village. From there i have to go to STRAZNICE

I am trying to hitchhike

Its raining again

Haven't got the lift till now

I tried to stop few vehicles, but its all in vain

Look at these beautiful houses!

Oh! Even he didn't stop

Don't know till how long I have to walk!

(trying to pronounce) STRIBRNICE

Will these trucks stop to help me?

I am tired now. Have been walking for almost an hour

These vistas are so wonderful!

I can see the clear blue sky after the rain

And just see this ...

So this was an Apple tree!

I can not walk now

My back is hurting like anything

I have just left my bags here

Will keep waiting here until I get help

Yes! Got it :)

The Parcel Van dropped me here

No idea about the name of this place

The gentleman driver recommended this place to get down

Lets see, what happens next

I just bought some Bananas, Bread, Yoghurt, etc. for my breakfast

Now the kind lady from that store is going to show me a place to sit and have my breakfast

So this is the park which the Madam was talking about

This bore well hand pump seems strange!

Something is written in Czech. Only this I can recognise is the symbol of European Union

I don't know it is functional or just a show piece!

Getting proper food while travelling is another challenge for vegetarians like me

Though I am gradually learning how to manage with it

I am done with the breakfast now

I am again ready to hit the road

Going to leave this place called .....

... oh! I can not remember these strange Czech names

The person has dropped me at this place.....

Oh! don't expect me to remember these names

I am using the wifi and toilet facility of a restaurant

Excuse me! My bladders are going to burst

She is the postman

And over there is the Post office, near the Blue coloured car

How beautiful is this village!

I thought this is a garbage van, but this is something else

Now the truck is putting something in the while container

oho! I was supposed to ask for lift

I forgot this while observing the truck's activities

A car is coming

I will ask him to drop me at STRAZNICE

Stop! stop! stop!

The driver was doing like this!

Now what does that mean!

Dont help!

I don't mind

Somebody else will help

There is an aeroplane over there

YOU PICK ME UP... BROTHER!

People will think that I have gone crazy... laughing for no reason! :D

For more infomation >> When I Had to Ask an Aeroplane for a Lift ! - Duration: 13:22.

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Drawing for Children Cute Coloring Pages How to Paint Colouring Videos for Kids - Duration: 1:57.

Drawing for Children Cute Coloring Pages How to Paint Colouring Videos for Kids

For more infomation >> Drawing for Children Cute Coloring Pages How to Paint Colouring Videos for Kids - Duration: 1:57.

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Video-Präsentations-Coaching mit Jean-Marie Bottequin - Duration: 1:08.

For more infomation >> Video-Präsentations-Coaching mit Jean-Marie Bottequin - Duration: 1:08.

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SKATEBOARD IN FIBRA DI CARBONIO! TU LO COSTRUISCI NOI LO SKATEIAMO EP 109 - Duration: 10:17.

For more infomation >> SKATEBOARD IN FIBRA DI CARBONIO! TU LO COSTRUISCI NOI LO SKATEIAMO EP 109 - Duration: 10:17.

-------------------------------------------

Intro to Google Boot Camp - Duration: 0:56.

OK

Hey Guys!

Today we're gonna do the Google Boot Camp

So, I am Mohammed Faisal, and I am Fahmy Abou Harga.

So, I have created a business card.

I love technology, and I love to be merciful with animals.

This is my favorite singer, and that one is my favorite picture.

So, our idea is bullying and cyberbullying.

We don't like it.

Bullying at school affects teachings and relationships in school.

Is that right?

Sure. Right

So we are gonna use this topic for our Google Forms, Google Sites.........Plus this video is on YouTube, so be excited, and it can help you!

So, I hope you learned something from this, and I am gonna upload more videos soon.

Peace! Wait for the....... Peace!

For more infomation >> Intro to Google Boot Camp - Duration: 0:56.

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Here's how to resolve pictures and videos WhatsApp is not saved automatically - Duration: 1:50.

hi,friends

see you again in this simple channel

I will share the tricks on how to handle images, audio, video or other files that are automatically downloaded in WhatsApp

Especially if you are in the WhatsApp group and people often send pictures and videos to make the files downloaded automatically

And not necessarily the file is important to you

In my opinion, all that causes the waste of internet data while meeting the storage of Android memory

How to cope very easily

Click on point 3 in the top right corner

Click settings

Do not forget to enable minimum data use

Clicks when using mobile data

click

Delete all checklists of photos, audio, video and documents

click ok

Now, WhatsApp you will no longer download files automatically

In the group or in the WhatsApp message

Like that trick from me, hopefully useful and useful

do not forget click likes and subscribed on my channel

For the latest Android tricks

Thank you

For more infomation >> Here's how to resolve pictures and videos WhatsApp is not saved automatically - Duration: 1:50.

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How making Live Video gives us the Power - Duration: 2:43.

so I've got

2 minutes and eight seconds to record

something down because after that the

memory will be full memory. so

what should I talk about let's talk

about why should we get Live. okay

I really want to go live in

Facebook more often but I don't

have a person beside me all the time to go live with

so that's why don't go because it

sometimes bit kind of awkward to

just speak in front of the camera all alone. the way

I'm speaking now and and the reason we

should go live more is because I mean

think of five years back to go live was

like a good big investment you have to

put lakhs and lakhs of money to be live

and and now it's for free with the click

of a button so why don't use that

power why don't you use that that a kind

of... you know it's like about tweaking the

physical laws. you make yourself

available to different places without even being

there. it's like you know fucking up with the

physics laws. it's like you're crushing

the the physical limitation to transcend

yourself beyond possiblities. that's what

technology is. that's what..... I

think we have really overcome the

limitation the god thought we will have in

our lives with the help of Technology

and and apart from that it feels powerful

because you know it is for free and

it is so nice to be live. to show

yourself. to show... to distribute your

thoughts in real time is such an amazing

concept and thanks to Facebook that it is now

easily available in each and everyone's

hand so why don't you just tap into it

you know 35 sec left

why don't you just grasp that power so that you

can be... I think it's not just about

making sense every time just about that

you use it.you know.. sometimes you just need to ...........

stand in front of the camera

and do

nothing just be life because it feels good

to be live. it feels feel good when we see

ourselves being seen by other people in

real time. that's the concept here.. to live more

to enjoy more. yu know. seven seconds.. six seconds... so

please go live more often and share your

thoughts share your creativity

you

For more infomation >> How making Live Video gives us the Power - Duration: 2:43.

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Learning Video For Toddlers - Colors For Kids To Learn - Learn Names of Fruits and Vegetables - Duration: 3:17.

Learning Video For Toddlers

Colors For Kids To Learn

Learn Names of Fruits and Vegetables

For more infomation >> Learning Video For Toddlers - Colors For Kids To Learn - Learn Names of Fruits and Vegetables - Duration: 3:17.

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17 oz H2Go Force Bottle Product Review Video | Inkhead.com - Duration: 1:19.

Hello everyone. Quality is what sets this

bottle apart from the rest. The 17 ounce

h2go force bottle is a double wall 18 by

eight stainless steel thermal bottle

with copper vacuum insulation and

threaded stainless steel lid. This means

it will keep your cold drinks cool for

up to 24 hours and your hot drinks warm

for up to 12 hours. It also features a

durable brushed steel top and bottom

which protects the finish of your bottle

from day to day use. Hand washing is

recommended. Pricing includes a one-color

one location silkscreen imprint on the

bottle. Customers will love the H2 go

Force bottle so make sure you include it

in your next promotion. Thanks for

watching. If you found this helpful

please take a moment to like the video

or subscribe to our Channel. Want to know

more about the 17 oz. h2go force bottle?

Did we leave something out? Well leave a

comment or find inkhead promotional

products on facebook and twitter. Please

like or subscribe for more great

products, reviews, and ideas.

For more infomation >> 17 oz H2Go Force Bottle Product Review Video | Inkhead.com - Duration: 1:19.

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Top 30 Hit Music Videos By Parmish Verma - Duration: 6:18.

SUBSCRIBE MY CHANNEL

SUBSCRIBE MY CHANNEL

SUBSCRIBE MY CHANNEL

SUBSCRIBE MY CHANNEL

For more infomation >> Top 30 Hit Music Videos By Parmish Verma - Duration: 6:18.

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Primeiro video game - Falando sobre jogos - Duration: 5:55.

I will tell a story for you to come children.

Hello YouTube folks here your friend Powermafia continuing Atari series now exchanges

The exchanges usually lasted only one day because if it lasted another day or the weekend

to my mother to realize that you lent that game in wanted to see him back then

You went to a friend's house with a game by example enduro or something else let me get it

other normally one day or maximum the end of week later it returned.

But there is a boy there on the street who was the role of the area I have a video that is more in detail

in powermafia game channel I'll leave it in the description that I explain how it was.

But it was basically a pyramid system we lent the game to him and with that

game I would go to another person and get the other one game there I would get that other boy's game

I got a game from another boy I would change it changing and I do not know how I will know later

Where was your game and usually my mother always asked.

Where is that squirrel game Where is that postman game I do not know what you have

You ask for it back for boy.

I usually delayed to bring game back was complicated but I also

I do not have much to complain about because thanks to him I accessed several games I would take

to get or could not if not was his help like the game of Kangaroo

You control mommy Kangaroo I have to rescue her cub from the little monkeys game

cool i like it a lot i've been too addicted in this game i was not very well not all

the game You have one legal souvenir and another trading system was also the guys who

exchanged cartridges you took a cartridge and for a small fee you took the other

different game for your house that was the old of Lapa.

I'm going to take here the link of the description I explain exactly how the system was

change it cool and cute funny if you think of a cartridge be the boy who

make the other roll you picked up that the cartridge spoke up it would say it was already

within a 20 to 50 atari because the cartridges were running quite a bit.

I'll always remember the first stump that I took from the old man from Lapa he was a guy

that trocavacartucho in the neighborhood of Lapa I was small boy and with my mother to see two

or three cartridges and the old one from Lapa spoke a is the one here I will change, another is the one here I will not

change why this cartridge is bichado. I looked at so bichada bichada has no bug here

There is no bug there today game.

It was already for my mother I asked him he said that the cartridge is bichado I went with my

Mom there because my mom was a little farther away there he explained.

Cartridge bitchado this one that is with the mark of the bolt that somehow already

had an attempt to open the cartridge and the child is also fire open only

to see the chip inside just to see if the character was in there or to see

the chip to see how it was the electronic thing and also happened very this of own

cartridge that depending on the brand the electronic part her and go inside and you really had

that open the screw and make the repair to the cartridge is in the correct position but

The old man from Lapa did not want to know and he looked at the cartridge with disgust like that.

This cartridge is bichado was very funny good staff is that there I am closing the

my first videogame series I hope you liked the videos a hug

of your friend Power Mafia Stay with God

For more infomation >> Primeiro video game - Falando sobre jogos - Duration: 5:55.

-------------------------------------------

How To Photograph Scale Models | Video Workbench - Duration: 43:47.

- Welcome to the Video Workbench classic series

instructional video,

How to Photograph Scale Models.

It's easy to take photos of any model kit

so it looks like the real thing.

All you need is a basic 35 millimeter camera.

Every technique in this video is done in-camera.

No special processing is required.

Even if you don't know much about photography,

this video shows you how to create

realistic-looking photos of your model kits.

This video teaches dozens of useful tips,

no matter what your skill level,

including what I consider

the three important T's of model kit building,

tips, tools, and techniques.

I would like to talk a little bit

about the instructor in this video, Chuck Davenport.

He's a former United States Air Force navigator,

who made extensive use of models, and photography,

during his military career.

He's used his model kit photos

for intelligence briefings,

and often fooled experienced aviation officials.

His model kit photos have appeared in trade magazines,

such as, The Journal of the International

Plastic Modelers Society, and Fine Scale Modeler,

just to name a few.

I hope by watching this video,

you walk away with a better knowledge

of how to photograph your favorite scale model kit,

along with having found,

or coming back into a hobby,

that is very fun, and rewarding.

Thank you, and enjoy.

- If you'd like to have some fun with your friends,

or learn how to photograph your models,

or just document your progress as you build,

then hang on, because we've got a lot of ground to cover.

(upbeat music)

You probably think getting convincing photos

of your models is difficult and expensive, but it's not.

You can achieve very convincing results

with a simple point and shoot camera,

or a 35 millimeter single lens reflex camera.

Every piece of equipment featured in this video,

is available at any full-service photo supply store,

or art supply store.

Your local K-Mart or Walmart

can supply the film and the processing.

The first concept you need to understand

is depth of field.

Simply put, depth of field is the area

directly in front of the lens

where subjects are in apparent focus.

Depth of field is affected by the F stop,

the F stop determines the amount of light

that enters the camera.

At an F stop of 2.8,

maybe this much area in front of the lens will be in focus.

But if you change to F 16,

you might get this much area that's in focus.

Depth of field is affected by the size of the lens.

For instance, 28 millimeter, 50 millimeter,

and 75 to 300 millimeter.

A 28 millimeter lens set at an F stop of F eight,

will give us a greater depth of field,

than this 50 millimeter lens,

or this telephoto lens, set at the same F stop of F eight.

Remember, for shooting scale models,

you'll need a large F stop number to get

a deeper depth of field,

which keeps your model in focus.

If you have interchangeable lenses,

try to use a wider angle lens,

such as a 35 millimeter or a 28 millimeter.

Don't use a wider lens,

or the model will look distorted and unrealistic.

Your choice of film

also affects the quality of your pictures.

There are many different

color and black and white films on the market.

I suggest Kodak Kodacolor Gold 100 for color prints.

Stay away from higher speed films,

such as 200 or 400.

They're too grainy.

Actually, the slower the speed of the film,

the finer the grain, and better resolution in the print.

Many of your shots require long exposures,

so use a tripod to steady the camera.

A cable release helps to eliminate

camera shake for long exposures.

Quite a lot of model photography

can be accomplished outdoors,

using the sun as your principal light source.

As a matter of fact, the sun's an excellent light source,

because a photographic rule of thumb goes,

the further source of light away from your subject,

the harsher the shadows.

And in order to make those models look convincing,

you need the harsh shadows that only the sun can cast.

Generally speaking,

the best sun for model photography outdoors,

is around 10 o'clock in the morning,

or four o'clock in the afternoon.

I'd stay away from shooting into the sun,

tends to hurt the eyes,

and it also makes it difficult to illuminate the model.

This is what you don't want to do.

The sun is coming from that direction,

and this side of the subject is in shadow.

What I want to do,

is move around to this side of the subject,

where the sun will be over my shoulder.

And this lets me shoot

the side of the subject that's illuminated,

just like the real one would be.

Aircraft in-flight photos are a snap outside.

You're a bit limited to photos of larger models,

but if you're careful of placing your model

within the viewfinder,

you can eliminate the telltale handhold.

A windy day, or this trusty old fan, spins the prop.

I tried to choose a cloudy sky to add some visual cues.

In this case, depth of field is not a factor.

Think about it.

Ever seen an out-of-focus cloud?

Autofocus cameras make focusing easy,

but remember, you must first focus on the subject,

recompose the shot, then shoot.

If you are using a simple point and shoot camera,

check the owner's manual for the minimum in-focus distance.

Use a ruler to measure this distance.

You may need someone to hold the model,

or use a lightstand and photo clamp.

Then, shoot the model a few times at different distances,

remembering to recompose the scene for each shot.

Shooting at several different distances

ensures that at least one shot will be okay.

This is an actual photo of a B-29 model

I shot several years ago.

My fan is out of view on the left,

and I pushed a wooden dowel through the tail gun turret,

to support the model.

So you can get the best exposure,

shoot additional stops at different F stops,

or shutter speeds.

This is called bracketing.

Take notes during the shoot.

This will help you to evaluate the photos

when they're developed.

This also helps you to improve

the result of your next shoot.

What's wrong with this photo?

Just look at the size of the subject,

in relationship to its surroundings.

Everything is much too big,

and only convinces you that this is a model.

Getting the right perspective, is an absolute must.

Here's how to do it.

One way of controlling perspective, is by forcing it,

by using models of different scales,

to make them look closer, or further away,

than they actually are.

For a military briefing,

I wanted to create the illusion of a Wolf Pack F-16,

from Kunsan Air Force Base, Korea,

shooting down a North Korean MiG-29.

I mounted this quarter scale F-16 model

on this homemade plastic pedestal.

You see this little trick here,

makes the missile move.

In fact, you notice, I only painted as much of the model

as I intended to photograph.

In reality, the aircraft might be separated

by about three quarters of a mile,

but to force the perspective,

I placed this 1/144th scale model of a MiG-29,

only inches away from the F-16,

giving the illusion of distance.

Here's the basic set up.

The two models are separated by just inches.

A sheet of double-strength glass

supports the MiG-29 over a photo of the sky.

A polarizer eliminates any glare from the glass.

When I move the missile armature during the exposure,

the cotton blurs and gives the appearance of smoke.

The finished photo gives the illusion

that the sidewinder missile is launching for the kill.

In the F-16 MiG-29 photo,

I introduced three new elements that need explanation,

since we will use them in future photos.

A simulated background or backdrop,

simulated motion,

and the use of a polarizing filter.

You might not have a cloudy sky,

or a valley to shoot in.

You can create your own backdrops,

using your own photographs.

These large 20 by 30 inch poster-size prints

can be made at any local photo finisher,

your local K-Mart or Walmart.

I shot these myself, so that I'd have a large selection.

This is just another variation of forced perspective.

The sun is behind the camera, illuminating the scene.

The flying model is supported by a rod in the engine.

I mounted the rod on a tripod, off camera.

To control the perspective,

I moved the flying model,

which is really the same size as the ones on the ground,

about six feet behind the foreground.

This is the basic set up, just different models.

You'll see this basic set up

in other photos during this video.

The simulated ground and tarmac is painted art board.

And the grass is nothing more than colored sawdust,

held in place with white glue.

The F-16 missile shot was a simple special effect,

that takes advantage of long exposure times,

in excess of one half second.

When something moves when the shutter is open

longer than 1/15 of a second,

then it looks blurred in the final print.

Some of today's high tech, autofocus cameras,

can automatically calculate and execute long exposures,

some as much as eight seconds.

But with older cameras like my Konica,

you may need a handheld light meter to calculate exposures.

The last element is a polarizing filter,

which is used to eliminate glare in the glass

that supports the MiG-29.

You simply rotate the polarizer to eliminate unwanted glare.

We'll now combine all these elements

to create our next shot.

Simulated background,

a simulated motion,

and a polarizing filter.

This photo of a North Korean AN-2 Colt,

was created years ago, again for a military briefing,

and uses a simple trick to create the illusion of flight.

Looks pretty realistic, doesn't it?

I'll recreate the scene using a Gee Bee Racer.

Like the previous F-16 MiG-29 shot,

I'll use my old Konica, with a 50 millimeter lens,

set at F 16, giving me good depth of field.

To achieve the effect of an airplane flying fast over land,

I will simply move the background,

which blurs it during exposure, thereby simulating movement.

Start by locating your poster scene on a flat, dry surface,

out of direct sunlight, if possible.

Remember that 10 a.m., or late afternoon,

are your best shooting times.

The light is softer,

and if there are any shadows,

they are cast well to the side.

Use some wooden blocks, or cardboard boxes,

to support a sheet of double strength glass,

about six to 10 inches above the poster.

In this case, I've angled the glass plate,

because the Gee Bee Racer is a tail dragger,

and I want the appearance of level flight.

Notice that I taped the edges of the glass,

to guard against cuts.

Place the model on the glass,

and check where the shadows fall.

Then, adjust your shooting angle,

so that the viewing side of the subject

is illuminated by the sun.

Looking through your camera viewfinder,

position the camera and model to eliminate shadows.

Attach your polarizing filter and adjust it

to reduce any glare on the glass.

Since the Gee Bee Racer is a prop-driven aircraft,

I'll place the fan and test its location.

You may need to glue your model

to the glass temporarily with rubber cement,

if your fan is very powerful.

The last step before final focus and composition,

is calculating your exposure.

Here is where film speed, camera shutter speed,

and aperture come together.

Shutter speed governs the length of time

the shutter remains open,

thereby exposing the film to light.

A shutter speed of 1/125 of a second

will freeze the propeller motion of a real airplane.

1/30 of a second creates a blur.

This is also true for models,

if the prop is spinning fast enough.

However, even a slow speed of 1/30 of a second,

is still too fast to freeze the image of the background,

as you move it below the model.

So, you need to shoot at a much slower speed,

1/8 of a second and longer,

so that the background will be blurred in the final print.

The polarizer you added,

generally reduces the amount of light by two F stops.

Even on a partly cloudy day,

this should be enough to allow you to shoot

at an aperture of F 11, or F 16,

at 1/8 of a second and slower.

If not, wait till later in the day,

or use a slower film.

Remember, through-the-lens metered cameras

will automatically compensate the exposure

for any filter you add.

Or if you have to calculate exposure by hand,

adding a two stop polarizer,

is just like using a film that was two stops slower.

For instance, if I was shooting with ASA 100 film,

and I add that two stop polarizer,

it's just as if I was shooting with ASA 25 film.

If I had a one stop polarizer,

and I was using ASA 100 film,

it would be just like I was taking pictures with ASA 50,

because there's a direct relationship

between those numbers that you see on the film cans.

ASA 100 is exactly twice as fast as ASA 50.

ASA 50 is exactly half as fast as ASA 100.

That translates to a one stop difference.

Once your exposure is set,

compose the shot in the viewfinder,

and check to see if everything is in focus.

Actually, preparing the shot consumes quite a bit of time,

but now that you're ready,

practice moving the background

as you simulate taking the picture.

Once you are satisfied with your procedure, take the shot.

Remember to bracket your shots,

but use your shutter speed, not your aperture.

You don't want to change your depth of field

by changing your aperture.

When you bracket using shutter speed,

you can only bracket in full stop increments,

but this should work fine.

Sometimes you want your model to look

as if it was photographed in a professional studio.

I'll introduce you to three new concepts.

Fabric backgrounds,

close-up lenses,

and reflector board.

I shot this photo of Kevin Golden's

70 millimeter Macbeth figure

for the cover of the IPMS USA Journal.

I used a studio style backdrop,

as simple as a box and a piece of fabric.

Macbeth is a dramatic figure,

wielding a blood-stained battle sword.

I purposefully draped red cloth to complement the figure,

and create shadows to support the drama of the scene.

As you can see, I have set up the shot

on my dining room table.

It's so disgustingly simple,

you can set up anywhere there is diffused light.

A porch, a veranda, or inside your garage.

I placed the figure close to the edge of the table,

to put some distance between it, and the backdrop.

This ensures that the backdrop is slightly out of focus,

making the figure the central point of the photo.

I placed the camera on a tripod,

and used a cable release.

But because of the small size of my subject,

I needed to change lenses.

If I used a wide-angle 28 millimeter lens,

the photo would require a lot of cropping at the lab,

to get the image size I needed.

A 50 millimeter lens was not much better.

If I add a close-up lens attachment

to my 50 millimeter lens,

I can move in very close to Macbeth.

I chose this lens and distance combination,

to achieve the best composition for my figure.

A close-up lens set, is very inexpensive, around $15.

It is used as a single, double, or triple element.

Used all together,

three elements lets you get in very close,

but depth of field suffers.

Before taking the photograph,

let's talk a little about contrast.

Since most through-the-lens light meters

average the light coming in the lens,

too much contrast between background and subject,

might give you an incorrect exposure.

For example, Macbeth is a relatively dark figure.

Putting in a white background is too much contrast,

and it throws off your camera's exposure.

Put in a black background,

and Macbeth washes out too much.

You want a background that doesn't contrast

too greatly with your subject.

If in doubt, use a gray background.

In this case, I chose red to match Macbeth's warrior image.

After calculating exposure, and composing,

I took the shot, bracketing one stop

either side of the calculated exposure,

in one half stop increments.

This set up, is a variation of the Macbeth scene,

using a cardboard box as the support,

and colored poster board as the backdrop.

Once again, you want to use morning, or evening

diffused light as your main source of illumination.

The white board acts as a reflector to fill in shadow areas.

Don't use aluminum foil as a reflector,

as it tends to scatter light, rather than reflect it.

You compose the shot,

calculate exposure,

and reduce the shadows.

This type of set up also works well

for cars and trucks.

Many of us like to document our work in progress,

especially if we are competing in the scratch-built,

or conversion class category of a local IPMS contest.

Here's how to achieve excellent results,

by using flash photography.

First decide which angle

best suits your documentation needs.

Next, support your parts on a contrasting base,

with modeling clay, or play-doh.

Try to hide the support.

The emphasis should be on the part.

Choose a close-up lens combination

that gives you the composition you want.

Add them one at a time, until you've got it.

If your subject is fairly flat, like the engine was,

focusing is easy.

But if you're shooting a subject with some length,

like the car body,

depth of field becomes a problem.

My solution is to use the maximum aperture of the lens,

F 16 or F 22,

and focus around the middle of the subject.

Checking depth of field,

I can adjust the angle of the subject slightly,

to ensure everything is in focus.

When using a flash, read your instructions,

so you understand how to operate your flash,

when it is not mounted on the camera hot shoe.

To position your flash, make this simple tool.

Cut a piece of cardboard square, 30 inches by 30 inches.

Then, cut it diagonally.

The long side is 42 inches long,

or about three and a half feet,

and the angles are 45 degrees.

45 degrees above,

and 45 degrees to the side of your subject,

is a good starting point for basic studio-type shots.

Experiment with different angles

to achieve different lighting effects.

Set the film speed rating on the flash calculator dial.

Determine the distance the flash must be placed

from the subject,

based on the F stop of F 11 or F 16.

In this demonstration,

the distance at F 11 is four feet,

at F 16, it's three feet.

Use your cardboard angle to make adjustments

to the flash to subject distance.

Also, remember, each flash is different.

You must calculate the flash to subject distance,

from your flash, not this video.

If you don't have a flash diffuser,

tape a piece of wax paper over the flash head,

to soften the harsh light of the flash.

Set your camera shutter speed to the camera manual's

recommended setting for flash operation.

Bracket your shots by moving your flash

closer or farther away.

I am shooting at F 16,

and the flash is three feet from the subject.

By checking the flash calculator dial,

I see that the flash to subject distance is two feet,

to make a one stop increase in exposure,

and to four feet to make a one stop decrease in exposure.

Do not adjust the aperture,

because this changes depth of field.

And don't change the shutter speed because

this has no effect.

If you own a variable power flash,

you can bracket the shots by adjusting the power head.

There is no need to move anything.

Autofocus camera owners with a dedicated flash

should check the camera manual for a flash off-camera,

manual mode operation.

Use a piece of white board for fill light.

It is always placed opposite to the flash,

and at an angle to your subject.

The light from your flash will bounce off this white board,

and reduce the shadows on the other side of the subject.

Documentary shots, like these actual photos,

are sharply focused, and very informative,

when you take the time to compose, focus,

and calculate exposure.

The cover that I shot for the IPMS USA Journal,

used all the elements that I've just described,

plus a few extra tricks.

For the cover, I wanted to tell a story,

so I sketched a story board to put my ideas on paper.

Judging from my poor artist skills,

you can see anything will do.

To tell the story,

I used the rule of thirds,

which tells you to divide the camera viewfinder

into three horizontal and three vertical sections.

To please the eye,

action flows horizontally, or diagonally,

from lower left to top right,

or, top left to lower right.

The subject never occupies dead center,

because the action can't be seen.

As you can see, my T Rex, howling at the moon,

over a missed meal follows the rule of thirds.

Since I don't have a darkroom, or an enlarger,

I needed to compose three separate shots in my camera.

Some cameras have multiple exposure capability,

which allows you to expose the same frame of film

as many times as you want.

On my Konica, I slide this lever

to re-cock the shutter, without advancing the film.

Your camera's probably different.

Check your instructions.

All the original work was actually done at night.

I set up my Black and Decker Workmate,

and draped a piece of black cloth

to eliminate possible reflections.

T Rex was posed as I envisioned.

I set up my main flash as described earlier,

with a diffuser, which softens the light,

much like the wax paper I described.

I then precalculated the amount of flash I would need,

based on an aperture of F 8.

I used this aperture because of the limited

depth of field I needed,

and to conserve my flash batteries.

My first exposure was of the moon,

in the upper right hand corner of the viewfinder.

Use a tripod,

because the moon must be photographed

at 1/25 of a second or faster,

to prevent orbital blur.

A long lens allows me to size the moon image to my needs.

Your screen shows recommended

exposure times for ASA 100 film.

I cock the shutter without advancing the film,

using my camera's multiple exposure feature.

Set up my camera using the shooting angle

I'd established in my story board, and took the shot.

To add drama to the shot, I needed some extra lighting,

so I put a red filter over the flash head.

For the final exposure,

I enlisted the aid of a friend to trip the shutter.

To add drama to the shot,

I lit a piece of newspaper for smoke,

and said, now.

As you might suspect, it took me more than one take

to get the final result.

I went through 12 frames of film,

before I got the shot that counted.

You have to be patient, and willing to experiment.

The presence of a person in a photo

enlivens the image,

and adds a comparative element

to an otherwise static scene.

I'll walk you through the steps necessary

to put yourself in the photo with your model.

The first thing we need is a photograph.

Use these distances and lens combinations,

to obtain in-scale photographs of yourself,

or anything else for that matter.

I'll be using a Lindberg 1/20 scale model car,

so I'll pose a bit further than half

the recommended distance at 1/48 scale,

for a 50 millimeter lens.

Have someone take the photos of you

against an uncluttered background if possible,

at about 10 a.m., or late afternoon,

just like the outside shots I have already done.

It would be a good idea to bracket these shots also.

Have your film processed and printed

to a standard three by five size.

Ask for matte paper if you can get it,

but under no circumstances accept a pebble-finish paper.

Use a sharp hobby knife, or a surgeon's scalpel

to cut the image away from the background.

Undercut the image at an angle.

Use small amounts of white glue, or Sobo glue,

to attach slivers of toothpicks for support.

Also, glue a pin to the feet area,

to hold the figure upright on the base.

Use a number two soft-lead pencil to burnish the edges.

Wipe off any fingerprints.

Then, give the finished figure a shot of Testor's Dullcote.

For this set up, I painted a piece of art board

to look like my driveway,

and mounted it on my Black and Decker Workmate.

I like this workmate,

because it's easily adjustable,

but you could just as easily use a sawhorse,

or some cardboard boxes.

To establish proper perspective,

eyeball the car at varying distances from the house.

In this case, I'm ensuring that the size of the car

is proportional to the house.

I then set the whole thing up.

The camera is set on a tripod

with the center of the lens approximately

six scale feet above the base.

In 1/20 scale, a six foot tall person,

would be about 3.6 inches tall.

In 1/72 scale, that same six foot person,

would be one inch tall.

Place the photo image in the scene,

using the pin to hold it in place.

The placement of the photo image is up to you.

It could just as easily be in the cockpit of an airplane,

or the commander's hatch of an armored fighting vehicle.

The biggest limitation is your own imagination.

To make this shot convincing,

we need to somehow keep everything in focus,

from six inches in front of the camera, to infinity,

all the way back to the house.

Even a 28 millimeter wide-angle lens

can't give me that kind of depth of field,

but this little beauty can.

Manufactured by the AJ Fricko Company of Cincinnati, Ohio,

this colens, is really a pinhole lens,

with an effective aperture of F 90.

It gives you a depth of field from six inches to infinity.

The colens is available for a variety of different

single lens reflex cameras.

Write to the address in the end credits

to get the current price.

The lens comes with an instruction sheet,

to help you calculate exposure,

based on your camera's metering system.

At a fixed aperture of F 90,

the viewfinder is very dim.

I prepare for a shot by closing my viewing eye,

and covering the camera viewfinder with a black cloth.

I bracket each exposure with shutter speed,

because there is no way to adjust the aperture

on the Fricko colens.

The results, with a little practice, can be very convincing.

So you see, photographing scale models,

only helps you to enjoy your hobby more.

For Video Workbench, I'm Chuck Davenport.

See you in the pictures.

- Hi, here I am again.

It's been 20 years since I hosted

the Video Workbench series.

And in that time, nothing much has changed

when it comes to photographing scale models.

However, the digital revolution has allowed us

to achieve much more than we were ever

able to achieve with film.

The thing that has changed,

is that the Fricko colens is no longer manufactured.

In fact, I very rarely use a pinhole lens these days.

And if you're looking for a colens,

you might be able to find one on ebay,

but good luck with that.

Instead of the colens,

I switched to digital imaging compositing software,

which has opened up a whole new area

of creativity for me.

However, if you would still like to make

your own pinhole lens,

at the end of this video you'll find a section

that details all the techniques and tools

that you'll need in order to create your own.

So, let's get started.

I suppose many of us who started out as modelers,

eventually learned to use a camera

to document our scaled creations.

This is one of several images,

my very first attempt at scale model photography,

that I took of a Monogram Models P-38,

built way back in 1973,

during my university years.

My intention was to create a crash scene,

but as you can see, my efforts were not very successful.

It's quite obvious, that this is a picture

of a plastic model, stuck in the mud.

I threw the model away,

and stored the negatives in a file.

In the process of digitizing all of my slides and negatives,

to my great surprise,

I found those original P-38 negatives.

I located a suitable image on the internet,

and created this composite,

realizing my original dream,

from 40 years ago.

There's no need to run out and buy

an expensive digital camera.

One suitable to your needs,

can be purchased in used condition,

on ebay, or KEH dot com,

which specializes in used cameras.

There is so much to know about digital cameras,

that it is impossible to tell you everything in this video.

So, I'll cut to the chase,

and give you the bare essentials.

Stick with a Canon or a Nikon camera,

if you're going to purchase a single lens reflex,

more commonly referred to as a DSLR.

You're looking for a camera

that has manual operation features.

There are two types of digital single lens reflex cameras.

The full-frame version uses an imaging sensor,

that is the same size as the old 35 millimeter film.

It's most often used by professionals,

and is very expensive.

For the enthusiast,

this type of camera exceeds your needs.

The cameras in the consumer range,

are much more affordable,

and will render an image of virtually identical quality

to the professional versions.

The single most important component of the DSLR,

is the lens.

I recommend using Canon and Nikon lenses.

More specifically, you want to look for a zoom lens,

that has a range of 17 to 55 millimeters.

The importance of a wide-angle,

is that that gives you the best depth of field.

Do some research, and educate yourself on this topic.

In the point and shoot category,

I've had excellent success with Fuji Finepix,

Canon Sure Shot, and Nikon Coolpix cameras.

Their principal advantage,

is that each has a manual mode of operation.

That becomes very important in scale model photography.

A 10 to 12 megapixel camera,

will yield excellent images.

And there's a glut of used versions available,

owing to the relentless march of technological improvement.

In the original video segment,

I recommended the use of a slow speed Kodak Gold film,

in order to give you the best image quality.

With today's cameras,

you can choose use any ASA setting,

knowing that the image quality will be excellent.

The faster ASA settings, the larger the number,

will cause the camera to shoot at a higher shutter speed,

which helps to eliminate camera shake.

With a point and shoot,

the ASA setting is usually automatic.

To make sure everything is in focus,

you need to switch from the program mode,

to the AV mode, which gives you aperture priority.

Shooting in the program, or auto mode,

let's the camera do all the work.

The camera has no idea that you want

the best depth of field.

In the AV mode, select the smallest F stop,

which is the largest number.

That gives you the fastest possible shutter speed,

to minimize or eliminate camera shake.

If you are really steady,

you can get great shots at 1/15 of a second shutter speed.

Otherwise, you may need that tripod.

I usually try to shoot with a minimum aperture of F 22.

With today's cameras,

you can get apertures as small as F 32,

which gives tremendous depth of field.

When composing your shot,

aim towards the center of your subject.

You can see the differences in focusing,

in this series of shots.

The next important feature is exposure value, or EV.

Even the point and shoots I mentioned,

give you the ability to change exposure value

in the manual mode.

The reason this is important,

is that the camera merely records

areas of relative reflectance.

Many cameras have a center weighted light meter reading,

which means that the camera relies

on the reflectance values

of whatever is in the center of the image.

But, this may not be enough to give you a quality image.

By adjusting the exposure value,

you get the image you desire.

In this case, the background is predominately white,

and the model is olive drab.

Therefore, I adjusted the exposure value to plus 1.5,

to let in more light.

The underlying reason for all this talk

about depth of field,

has to do with perspective.

Think about it.

When was the last time you stood on a ladder,

and took a photo of a car, a tank, or whatever, from above?

Most of the time you are viewing real life objects

from ground level.

So, why would you want to take a photograph

of a model from above?

The reason this has been the usual mode of photography,

is because most amateur photographers

do not know how to control depth of field.

The deeper your depth of field,

the more realistic you can make your model look,

from scale eye level,

as I have done in these series of photographs.

Well, you're gonna try your hand at building

your own pinhole lens.

It's actually not that difficult at all.

You're gonna need the camera body cover for your camera,

a pinhole lens, an Olfa circle cutter,

or suitable substitute,

some Tenthou plastic card,

a number 80 drill,

the lens from a disposable camera,

and you can still get those

at places like Walmart photo centers.

You're gonna need some Goop, G double-O P, adhesive.

And you can get that at Walmart, too.

And then finally some regular old plastic cement.

You are far better off in terms of quality and cost,

if you go ahead and purchase a 0.1 millimeter

chemically etched lens.

You just cannot drill, or punch a hole,

the size of two human hair diameters,

which works out to be about 4/1000 of an inch in diameter.

The larger the hole,

the poorer the image quality.

Locate the cover for the camera body.

Remove any raised manufacturer's marks

that may be on the reverse side.

That pinhole needs to sit absolutely flush,

with the inside surface.

Measure the inside diameter of the cover.

Cut a section of Tenthou card

the same inside diameter.

It should fit snugly, without buckling.

Trim as necessary.

This will be the base

for the pinhole lens you've purchased.

In that same piece of card,

cut a hole in the center

the diameter of the disposable camera lens.

Ensure the disposable camera lens

fits easily inside this hole.

Do not throw the small cutout away.

You'll use it to align the pinhole lens in the base.

Trace the cutout onto the inside

of the camera body cover.

Remove this material from the cover.

You can drill it, you can grind it out,

whatever works best for you.

Check to ensure the disposable camera lens

fits easily inside that hole.

Drill a number 80 hole through the center

of the small circular cutout you made in step 4A,

and replace the cutout in the base.

Using a bright backlight,

look through the pinhole to align it

with the number 80 hole you drilled in the cutout.

Hold the pinhole in place with a dab of Goop.

Though I did not complete painting the inside

for demonstration purposes,

you need to paint the inside of the lens base,

and the lens plate,

to eliminate internal light reflection.

Make sure you do not get paint

near the minuscule pinhole.

Using the plastic cement,

glue the disposable lens in place,

and paint the surrounding area black.

Remember, little dab of glue will do you.

You are ready to start shooting now.

You may need a cover over the camera and your head,

in bright sunlight.

Remember, the effective F stop

of that 0.1 millimeter pinhole, is F 180.

Until your eyes become accustomed to the low light,

the viewfinder will appear dark.

(upbeat music)

For more infomation >> How To Photograph Scale Models | Video Workbench - Duration: 43:47.

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Welcome To Veliko Tarnovo - Duration: 7:21.

For more infomation >> Welcome To Veliko Tarnovo - Duration: 7:21.

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edX | ISSCC Previews: Circuit and System Insights About Video - Duration: 3:06.

My name is Anantha Chandrakasan and I am the Conference Chair for ISSCC, the IEEE International

Solid-State Circuits Conference.

ISSCC is the flagship conference of the IEEE Solid-State Circuits Society, and it is the

premier forum for presenting advances in solid-state circuits and integrated systems-on-a-chip.

The conference, held annually in San Francisco, will be celebrating its 62nd anniversary in

2015 and is expected to draw 3000 circuit experts from around the world.

This year, partnering with edX platform, we are pleased to present ISSCC Previews: Circuit

and System Insights, an on-line glimpse into evolving technology, from world experts in

the field of integrated circuits.

The goal of ISSCC Previews is to introduce key circuit concepts and trends in a tutorial

fashion, which will allow the circuit and system community to appreciate the broad themes

covered in the conference.

These Previews will be in the form of 10-to-15 minute modules that will establish the current

state-of-the-art in the field, discussing relevant benchmarks, figures-of-merit, and

so on.

Each module will have a few optional questions to test the students understanding of the

material covered.

The Previews will include several areas including wireless and wireline communications, analog,

digital, and memory.

The modules are intended to provide exceptional insights into the types of innovations that

characterize the conference.

ISSCC 2015 will feature more than 200 stimulating technical papers covering the latest innovations

in circuit and system design.

In addition, there will be three exciting Plenary talks; Plenary videos from recent

years can be found at the ISSCC website: www.isscc.org

Conference Demonstration Sessions will feature expansions of selected papers from industry

and academia and will highlight not only chip technical features but also system innovations.

ISSCC also offers a variety of educational sessions including ten, 90-minute tutorials

which provide an extended introduction to conference topics.

The short course provides a focused discussion by four coordinated experts on a particular

topic.

For ISSCC 2015, the chosen topic is Circuit Design in Advanced CMOS Technologies: How

to Design with Low Supply Voltages.

We also feature six, day-long forums on advanced topics as well as five education-focused evening

sessions.

We also have a number of technical events for students and for networking with experts

in the field.

We hope you enjoy our new educational product, ISSCC Previews: Circuit and System Insights,

and join us at the conference to further explore these topics and other innovations.

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