♪ >> from our studios in new york city, this is "charlie rose." charlie: sally mann is one of america's prominent photographers. for three decades she has captured images that are disturbing, hunting, and romantic all at once. her 1992 series called "immediate emily," she has created strikingly beautiful photos that outraged some for the composition and nudity. sally writes about that moment as well as her life and work in a new book called "hold still:

a memoir with photographs." i spoke with sally mann for a rare and candid conversation in new york city's gallery. what brought you to say rather than taking pictures, i'm going to write about taking pictures in my own life? sally: what got me there was i was invited to deliver the massey lectures at harvard. i thought it was a mistake. the lectures are in our each. they are scholarly intellectual lectures. it took me a year to say yes. i had plenty of time to think about it. it was three years down the road. charlie: this is a combination of like and photography.

sally: it is, but it turned out to be more than that. when i set out to write, i went back so far in time and began to study the whole genetic bread -- thread that brought me there. i went up to the attic like everybody does. dugout all the old memories. the pictures and the letters and the ship's manifests and all that stuff. charlie: your work seems to be interested in life and death and memory and history and place. sally: yeah. that may be because i'm a southerner. you know about that. charlie: i do. you like to tell stories. sally: i do. -- we do.

charlie: you do it with camera, and i do it with voice. sally: yeah. i do. charlie: when did this love affair with photography begin? sally: really early. 17-years-old. charlie: did your dad give you your first camera? sally: he did. he had taken it around the world in 1939. 1937. he handed it to me with virtually no explanation this is how you load the film. remember all that stuff. i started taking pictures. it was an instant love affair. charlie: what was it? sally: it was ecstatic. the joy of looking at a negative dripping down your arms and holding it up to the light. it is just magic. charlie: it is more than taking a picture. sally: you take the picture. you pray you got the second you thought you got. so many times you don't.

you get the 1/10 of the second on either side of the one you hope you got. so really, it is when you see the negative that the moment happens. there is nothing like that moment. i have said many times it is a almost sexual in its intensity. you're just ecstatic. even in negative form which is in reverse, you could tell right away. it has got people listen as proportions and the right feel -- it has got the felicitous proportions and it just has the right feel to it. you just

know. charlie: you like black and white. sally: i do. it is harder. that is not why i like it. it makes you get right to the essence of taking the picture. you are not distracted ride the color. color is an entirely different way of thinking. charlie: you live on a farm that is full of color. green grass. blue skies. everything. sally: it is funny though. i see everything in black and white. i see things like i see you in a little 8 by 10 rectangle. charlie: oh god. [laughter] sally: you start locking out inks, and that is a very important part of taking pictures, the ability to isolate what you are concentrating on. sometimes when i read a book it will be describing a scene and i will see it in my mind. i will see it as a black and white photograph. it should be darker. softer. the river should be dark, that the trees -- usually all the time. charlie: back to technique.

sally: oh gosh. [laughter] charlie: i heard the reason why you like photography is because of the dark room. because that is the place where you and your boyfriend could get together. sally: sort of a euphemism. [laughter] there was that. no question about that. charlie: you took your first intimate photographs there. sally: i did. of course, i immediately got in trouble for it. i got in trouble for everything. i was a little minx. i was a bad girl. but the pictures the pictures got me in trouble. for one, i was innocent. it was a completely innocent picture, but it involved nudity. charlie: we will talk more about that. sally: ok.

maybe not too much. [laughter] charlie: there are so many things that compete with who you are as a photographer. it has to do with family. landscapes. it has to do with history, as i said. you wanted to go back to where butyou wanted to go back to where you came from. , back to virginia. two shenandoah. -- to shenandoah. sally: i never left virginia. the whole time i was miserable. i miss the mountains and the kindness of the people. the whole sweetness of the land. vermont it just did not do it for me. charlie: the older i get the more i appreciate my life will stop sally: no kidding. the south is known for so many unkindness and violence. but it could also have the sweetest, kindest people. most generous.

charlie: so you get a job in washington. briefly. sally: yeah, briefly. [laughter] charlie: there was a building there you photographed. sally: a law school. i photographed that. charlie: and an exhibition. sally: you have done your homework. good grief. charlie: it is you, your life. these photographs sit on top of a life. that is what makes them so interesting will stop -- so interesting. sally: a big pile of them. charlie: especially your life. sally: yeah. charlie: you go back to a place where your father was a general practitioner. your mother ran a bookstore. sally: yes. charlie: your husband loved horses? sally: yes. he was a blacksmith for the first 10 years of our life. he loves horses. he just cannot ride. unfortunately.

charlie: immediate family. sally: the book came out in '92. started the pictures probably closer to '85. charlie: how do you measure getting better? >> -- sally: i think it is sort of a visual thing -- visceral thing. charlie: i mean, you could see the difference between sally then circa 2015 to 2000. 15 years. sally: yeah. i don't know if it is an intellectual process. although, i may ask myself intellectual questions. you know, i think the difference is that i used to be taking pictures to save things. the impulse was to either take pictures to save something or to try and see what something would look like in a photograph. it was an exercise.

now, it is a lot more important to me to actually say something as opposed to save something. i am trying to use the photographs in service to a concept. i did not start out that way. i was just sort of taking pictures because the kids were around and gradually constructed around them. charlie: immediate family, they were around. sally: a documentary. documentary in origin. they grew less so. charlie: they grew to become what? sally: they grew to have a narrative around them. anesthetic and an intellectual narrative. metaphorical implications. you know, they got much more complicated. charlie: did you know what you are doing? sally: no. i used a commonplace to somehow make images that were resonant and revelatory in anesthetic and lyrical way.

what could be more commonplace than children, rugrats? charlie: children at a cabin. sally: yeah. i worked with 12-year-olds before that. charlie: they were under 10 at the time? sally: the kids were not even born then. charlie: but when you took photographs, they were all under 10. sally: yeah. charlie: what were you saying? what were you telling us?

on one hand it is all the things of what it means to be young and jumping in the water and all that. on the other hand, people read into themes of loneliness, quietness, sexuality. sally: people read unbelievable things into it. that is what was shocking to me. it was not without undertones. some of the ways they were interpreted were shocking to me. charlie: you know there are the controversy.

sally: i didn't. i was blindsided. charlie: by all the things people said or accused you of. sally: yeah. there was that. charlie: people consider them beautiful and brilliant. it marked you as a photographer. people said you were a great photographer. that was the beginning of sally mann's public -- sally: that's true. charlie: you had talked to psychologist. sally: mmm-hmm. charlie: you concerned about showing photographs they didn't like. sally: yeah. editorial discernment. that is the concern many people have. how could they know? they were visually sophisticated kids. they knew what we were doing.

we talked about the pictures. do you like this? what do you think this picture says? does it say something about you you are not comfortable with? charlie: what did your husband say? sally: the same. charlie: this is a close family. sally: yeah. charlie: you have no secrets between them. sally: i imagine there are a few secrets, but we are a close family. charlie: now they are adults. how do they see those photographs? sally: i usually answer that by saying you should ask them. [laughter] they are all in their 30's. you could consult them. i think they are proud of them. virginia wanted to give immediate family to her teacher for christmas. charlie: they understood and appreciated it? sally: i think they understood it. that is the argument i make. i'm sure some may take issue with that.

♪

♪ charlie: here is virginia. tell me what it is like to live in a household where you had a mother who was obsessed by photographing that what she knew best about? him and virginia: one of the

things you may not appreciate about the pictures is that we were incredibly lucky to have a mother who was home all that time. we got to work with her and she found a way to make the work collaborative. him him even though she was obsessed, it was our reality. charlie: she taking pictures of your reality. virginia: exactly. absolutely. charlie: it is about us. we are part of this. virginia: we were proud of it. charlie: did you want to become a photographer? to do what mom does? virginia: no. [laughter] i don't have the aptitude for it. i never wanted to go into anything involving photography art at all.

charlie: are you and your brother and sister different in terms of how you view all of this? virginia: i don't think so. i think we were all just incredibly proud of this body of work and proud of what mom has achieved. it is something we feel we have achieved. we have been through so much of it. every body of work was collaborative. we went through choosing which pictures would be in the show. charlie: your part of choosing the pictures. even if they were pictures of landscapes? virginia: i don't know. [laughter] but we certainly gave our opinions. she did not raise shy children. [laughter] charlie: this made her famous. and you to a degree. when you look back, did it have an impact on you? virginia: it is hard to say. i was quite young when the book

came out. i was seven or eight when the book came out. it was something i adapted to quite quickly. i think for jesse, they felt the shift a little more severely than i did. charlie: a shift in? virginia: in our life. we were suddenly traveling the world. they were known in a way we had never experienced before. sally: i think there were moments when it was character building. virginia: it certainly presented its own unique challenges. i find that i get quite protective of our privacy. when people find out who i am, there is this debate of how did the kids turn out? i don't think that is anybody's business.

i am who i am. i have my own identity. we have gone through all of that and it has just shaped who we are. and it is character building. charlie: the book added a dimension to your life? virginia: exactly. but everyone has their challenges. charlie: after "immediate family," sally moved on. she has been exploring themes of place, history, and mortality. i asked her where she finds her inspiration. sally: i do not make a decision about what i want to do next. it is sort of like this hidden lever that you keep by your side. it calls to you. instead of doing family pictures, i had this desire to take landscapes. it sounds --, but it was true.

i would have my camera set up. i'm thinking 8 x 10. i would find these beautiful images. milky glass with the camera. i was seduced by landscapes. i was available for seduction. the kids were leaving home at that time. well, they weren't as available -- charlie: you were available for seduction, to rephrase. [laughter] i'm available if any landscapes want me. here i am. sally: yeah. [laughter] charlie: you write about that here. sally: yes. prose. charlie: then there is gigi. you write about her. sally: very important to me. i read in the book -- i was

raised as a feral child. that whole 1950's thing. it was very hands off. i would be gone all day long and no one would even look for me. charlie: i had complete freedom. i had no curfew. sally: yeah. me, too. i was a child. i think my parents just didn't care. i don't think it was trust. they should not have trusted me. [laughter] charlie: they knew i could take care of myself. sally: i has this little on neutered beagle that would go all over for miles. i would come home. the tar on the road, i would chew the tar when i was hungry. nobody would care. they would wipe the tar off my

mouth. charlie: i got ahead of myself. these are 2005. sally: you probably know better than i do. that's where you did all the landscapes of the south. that was linked in with the deep south pictures. i don't know. i'm sure you have it somewhere. charlie: what remains from 2003. it shows the evolution. there it was your greyhound. what was it about? was it about dying? understanding death and what it means? sally: almost a documentary impulse. she died. i could not bear to leave her. so i had her skinned and i took the body and buried it and

ended up decomposing in this almost constellation of little bones. it went from there. and, you know it was an odd , leap to make. but i began to ask the question about the landscape, and she was there. charlie: here is what is interesting. you get engaged by something like that. you go on a rampage. sally: i'm a little terrier like. [laughter] charlie: you get interested in other dead bodies and decomposing bodies. sally: yeah. charlie: what is your camera telling us? sally: i don't know. charlie: well, you just wrote a memoir. sally: i know. it is like that dancer who

danced a great dance and then they asked her what it was about and she said if i could say it in words, i wouldn't have danced it for you. [laughter] charlie: your camera is your story. not your book. your book is part of what you are thinking about. find some meaning in it. other than just doing it. sally: it is a huge translation. usually it is enough to take a picture and put it up on the wall. your meaning is plain. to somehow make the translation from visual art to written words, it was quite interesting. it is a whole different way of thinking. to be able to talk about your work. not so easily it turned out. charlie: in "hold still," pictures reveal a fine talent for writing. was it hard for you? to amass these pictures? the pictures spoke.

you show us the hard reality. or the beautiful reality. sally: i try to. charlie: are you musing on mortality and death and what happens and what remains? that is what you titled it what remains. sally: that show. you do ask that question. a library had burned down. i lost my father. you do. it is that notion of what finally is memory of him? what remains? how do you preserve the moment?

can you? is there such thing as an afterlife? charlie: that was involved in "what remains"? casualties in america. sally: yeah. charlie: you go back to the living. sally: yeah. charlie: there is hope and there is a future. sally: exactly. a vitality and that is what i love about the body of work. charlie: but you go from death to life. sally: the negative to the affirmative. charlie: in 2009, "proud flesh." sally: maybe one of my favorite bodies of work and one of the toughest. it is a -- anytime you make a picture of a vulnerable subject, and he is vulnerable.

he has got muscular dystrophy. parts of his body have lost control. his bicep is no bigger than my wrist. no muscle. charlie: that is what muscular dystrophy does to you. as hard as it is -- sally: it is harder for him. it was hard for me, but harder for him. when you have a subject who is willing to put themselves out like that and completely unashamed and willing to be in a picture that comes at the expense of his vanity, vulnerability, exposure -- all photographic portraits, that is the risk always. no matter how used to photographing you are.

we hold all the cards. in the power. charlie: can we see trust? sally: i should say, yeah. there are pictures i have taken that made me ache for him. and i would say are you sure you want me to show these pictures? yes. in a sense, that measure of comfort was worth it to him. for the sake of what we like to think it is a good piece of art. charlie: what was the response? sally: i'm still photographing him. he is still willing to do it. i mean, more than willing. he believes what we make together is important. 45 years.

we have managed to put in another good 11 years. i'm not good at math. yeah, 11. [laughter] i was frantically working my thing. well, you saw my math score. they are in the books. charlie: yeah. you chose the right profession. [laughter] or it didn't choose you? sally: it is a demanding mistress. ♪

charlie: when did being an artist come to you and not just photography? not that photography can't just be art by it is more than just taking pictures. sally: i was always bifurcated between writing and photography. i loved both. i wanted to be a poet. but how do you make a living being a poet? it is hard to do. i guess early on i didn't think of it quite that way.

wear a rakish beret. i wanted to look like an artist. [laughter] the left bank of lexington. [laughter] wanted to be an artist, i wasn't sure i could pull it off. charlie: and every new technology that comes down the pipe -- sally: i'm borrowing a little. charlie: ahh. sally: i cannot ignore it. charlie: because it gives you power to do things?

sally: yeah. i could get what i want better. not quite sure i will get it up. i love it. charlie: pure liquid. sally: that and bourbon. [laughter] charlie: i knew there was a reason i loved you so much. [laughter] sally: that is a good title. don't you dare steal it from me. charlie: and -- sally: i pulled it out of the text. hold still. it is important. some and said it should be titled "hold still: sally mann" because i'm humming bird-ish. charlie: you are. you are tough on yourself and on your art. demanding a lot of yourself. you live on a platoon of family, but you attack the world.

sally: so insecure. this book masquerades as vanity. other people see my career as one success piled onto another. i see myself as botched to botched. failure to failure. charlie: where have you failed? sally: don't ask. charlie: i'm asking. sally: i don't know. i never think it is good enough. i look back. i'm reshooting things. perfection. perfection. those are the goals. charlie: would you recognize perfection if you saw it? sally: there are a few pictures i would say are perfect and i wouldn't change a thing. charlie: what do they contain? sally: that enough football something. vision asa coif -- that

incredible something. what a copout, right? [laughter] charlie: i have asked opera stars in their career, are there moments onstage when you knew you had nailed it? you have put notes together in a way you cannot even remember how you'd did it. you just know that night, that song, you are there. sally: yeah. charlie: and they say -- sally: and they say? charlie: yes. sally: it is transcendent. fleeting the same time. charlie: there is a great story. of laurence olivier who had

just delivered a great shakespearean performance. they went backstage. to congratulate him. some fellow act is. -- some fellow act doors. -- some fellow actors. he had his head in his hands. you have never been better. you know how good you were. i know. i don't know how. sally: he doesn't know how he did it. yeah. charlie: do you believe in that? you believe in -- [laughter] sally: i said to you one time i did not believe in talent and you said you did. i thought we should settle this once and for all. i think there is a weighted sensibility. i think there is a privileged sensibility. maybe that is what talent is. i don't know. it is so vanishingly small in

the scale of things. charlie: i do, too. can i tell you i have come mostly to where you are. sally: oh good. charlie: mostly because after doing this for so long and talking to so many people of enormous talent -- sally: or what you think is talent. charlie: yeah, what i think is talent. they always talk about effort and how hard it was. they all do. sally: i know. sally: so, are you convinced now? charlie: more convinced now. you are good most of all because of the labor that goes into it. sally: the tenacity. you have to just keep doing it until you get it right. charlie: i wondered if what is essentially true is if a select few could reach that kind of greatness and those who had something special and they put

in the 10,000 hours, the hard work. they put in the searing sense of, this is not right. it is not there yet. sally: i do think there is some privileged sensibility. we're not talking here about proust or mozart. those guys are really geniuses. i'm talking about the rest of us who are ordinary people who work hard. and make ordinary art. charlie: when people saw your work, they knew there looking at something special. they do not see what goes into it, they see what comes out of it. sally: isn't that true of everything? every book you hold up when you are interviewing someone it is five years of their life. charlie: exactly. what was hardness of this book? -- hardest about this book? was it the memories? or getting it right?

sally: well, that is always the hardest. getting it right -- why should it take five years? you believe me, don't you? many people have said this to you, i'm sure. charlie: absolutely. hardest thing they have ever done in their life is to write. sally: the difference is i remember robert frank lived in an apartment in a courtyard. he said he used to see them pacing back-and-forth, trying to put the painting on the canvas. he realized that the photographer, all he had to do was hold the viewfinder to the face and find the moment. but, when you are a writer, a painter, it is so much more difficult. that is why it took five years. you know i had to conjure the old thing up from scratch. photography is about choices.

writing is about choices, but you have to create the choices. they are not out there in the world for you. charlie: do you want to do it again? sally: i don't think so. charlie: you have nothing left to say? sally: god knows. i mean, look at that. 500 pages. charlie: but it is 2015. you talk about everything here. you talk about you, you talk about influence on your life, you talk about how photography can change the world. sally: i think it can. i had a big argument about it with eugene richards the other day. i made that sweeping announcement that i thought photography could change the world. he is one of the people who has been making photographs that i think has changed the world. i think it is a historical fact that it changed the world.

i mean, it stopped the vietnam war. charlie: it did. sally: it changed the course of the civil war era -- not to interrupt you. charlie: photographs. selma. photographs. moving images of brutality. violence. that said two people in power -- sally: yeah. we cannot have this in america. that is what is going on today. charlie: everybody has a camera. sally: walking down the the street in new york city, in and a cabbie was having a fight with a woman on park avenue. there were three people with their video cameras out taping it. it was not even a fistfight. it was just yelling. and i thought, wow. don't tell me photography doesn't make a difference. charlie: look at something like instagram with how people are obsessed with photographs.

people prefer photographs to text any day of the week. sally: so, what do you think that is going to do to photography? charlie social media has real : impact. we are looking at thousands of people killed by an earthquake in nepal. we are looking at a catastrophe so great, so far more than 3000 people. sally: that many now? i don't listen to the news. oh my god. charlie: it clearly has influence. it also has meaning. it could take you to places that only your mind can imagine. sally: i think it is limited -- a photograph is limited in terms of what it could conjure.

we're talking about what it could do politically. the difference, the way photographs work with memory is so much for different man other things. just the idea of a curling yellow photograph and yet there is texture and shape and form and detail and three-dimensional. photography is an interesting and complicated concept that are varied ways in which it is used. charlie: there is power in your dark room. you choose what we see. sally: right.

charlie: there would be a picture on the cover of a newspaper. there be a different picture inside that an editor chose. but you choose first. because cu channel the images we first see. -- because you choose the images we first see. sally: have you ever studied contact sheets? charlie: yeah. i'm aware of it. sally: it's fascinating. a perfectly normal kid. he happens to be holding a hand grenade. but there's nothing weird about , him. 12 pictures on a roll. just this kid standing there. there is this one picture where he makes this terrible grandmas. his -- terrible grimace. she chooses the terrible grimace. why people picked the pictures they did is fascinating. charlie: wrote about this. sally: yeah. charlie: one time, they were

talking about the photographer who came to photograph you. wrote to death about it. she was worried. she took pictures. you just said finally to her, just shoot. quit worrying about it. shoot. sally: yeah. she has one of those modern cameras. you just push it and it is like a machine gun. [laughter] charlie: what do you think of those cameras? sally i'm beginning to see the : utility of it. how could you go wrong? like those monkeys at a typewriter. just push the button. just shoot. charlie: point and shoot. sally: it is that simple. just point and shoot. you will get a good picture. charlie: that is the point. being able to frame it. but at the same time, she said

she looked at all the pictures and they were all kind of out of focus but there is one that you saw of a hand. and you said that is the one. sally: we said it in unison. we were scrolling through. boom. just like that. charlie: talk about gigi. tell me more about her. there was one in my life. sally: i think there was a gigi in a of people's generation in the south. a writer wrote about the importance of that person. an oddball. if you are just someone who needed extra coddling or attention or fewer difficult like i was. i'm sure you were not an easy child either. right? [laughter] i'm not sure how your parents were, but mine were not

available to me. they had other things to do. she was always there. charlie: talk about your father and mother. the legacy. you tell me. sally: a third of the book is devoted to my father. he deserves every page. he's one of the most complex, interesting -- he was that. charlie: among other things, and an atheist. sally: yeah. he was that. that is difficult. he was contemptuous of television. very much an intellectual. an art lover. foodie. sophisticated on almost every level. read the atlantic. harper. and the new republic. he got them all every sunday. the new york times and the washington post.

they were naturals. charlie: were they happy? sally: i am not sure. i think he probably -- he was a medical doctor, but he gave up literature and art. it is very interesting. charlie: he knew it. sally: he did. there is that poignancy of squandered genius. always. he gave up art and he knew that. i think there is this poignancy of squandered genius about him always. charlie: are you more him they your mother's daughter? sally: other than i look almost identical to my mother. it is shocking. charlie: genetics. sally: genetics. i tell the story, i was walking down the street in boston one

time. a man asked if i was her. he hasn't seen her in over 40 years. i'm her daughter. [laughter] charlie: think about all of the relationships. i mean, there are things you have taken pictures of. i assume gigi made you interested in -- at a later point, the legacy of slavery. sally: she made me aware of it but not overtly. she was very circumspect. it was when i went to putney that i was introduced to falconer. by a black man named jeff campbell. even as he handed it to me, i think he must have known he was opening the door to very difficult questions. and in fact, yeah those , questions strolled right in. charlie: what haven't you done? what questions have you not answered through photography for yourself?

what do you os you haven't done? -- what do you owe us you haven't done? sally: working on a project. i touched on it a little bit in the book. it is all devoted to gigi. the testimonial perhaps and her importance to me. i've taking pictures of black men. i'm working on the legacy of slavery in the south. profound. i'm focusing on the nature of what at the slaves alive, what kept their hopes alive. and focusing a little bit on the net turner rebellion. -- not -- nat turner rebellion.

charlie: how will you do this? sally: using i have an answer, but i -- you think i have an answer, i don't quite know yet. he was going to a swamp that offered refuge to desperate slaves because they wouldn't track them into the swamp. charlie: fear of alligators? sally: fear of everything. that place is awful. now they have discovered these sonow they have discovered these whole villages. these towns in the swamps. so i'm photographing those. , it is fascinating. the whole question of how slavery affected the south. which is kind of a large topic. so black men, rivers. little churches. the importance of religion. charlie: and the courthouse? sally: that is a good idea. charlie: are you serious? sally: im serious.

charlie about a certain kind of : justice? sally: something like that. and the night sky. surely that was of critical importance to escape. i am thinking of song, too. i'm just rambling. who knows? charlie: because you have looked at at history so much and because you have looked at death and dk so much, do you have any sense of mortality and rushing to finish so many things? sally: do i ever. all i'd have to do is look in the mirror. i don't have to look at death and dk. charlie: what do you see when you look in the mirror? sally: i'm shocked every time i do. yeah. charlie: how would you like to be on television for 25 years? sally: i can only imagine. [laughter] it's bad enough for 25 minutes. when they brought the little

screen over, i was like, that can't be me! [laughter] charlie: there is an urgency to do a lot of things. sally: there is. i'm frantic. i don't waste it. i don't waste time. i work all the time. i just stay home focusing on what's ahead. i'm sure you do too. it is the only way. charlie: i was thinking about it. in the end, it is love and work. freud and shakespeare, whoever deserves credit. love of friends. love of the world around you. at the same tech, it is worth to find your place -- same time, it is work to find your place. sally: yeah. and leave your mark. charlie: take your stand and

leave your mark. maybe that connects you to your father. thank you for being here. sally: thank you. charlie: my thanks to my colleague producer at cbs for and the hard work on the sally mann conversation and edit. ♪

rishad: this is "trending business. here is a look at what we are watching. the aussie dollar jumping. it is down to improving export performance. the fifa president stunning the world of soccer. sepp blatter says he does not

command widespread support. and the improving economy giving sales a lift. let me know it you think of our top stories. a look at the markets. the fat gdp numbers. >> a lot of red on the screen. hong kong reversing yesterday's decline. the skit you up to speed and what is happening in australia. the decline in the markets about .8%. oil and mining services companies are doing well today. continuing to gain of 5%. so many movers to the