The Knot Wedding: Bride and Groom Photos
It's 2:17, I have a press deadline at at 3:30. I haven't gotten a single portrait of the bride and groom. My heart breaks for them, because they haven't had a single time just to, like, veg and chill. I have about five minutes with them here. I have natural reflector here, I have good light coming through the trees. It's really harsh lighting, this is the best I'm gonna get. I'm gonna try to work with them in the next five minutes, get at least one photo that I'm proud of, and that's what we're gonna be sending to press for the first push. Tomorrow's push will be a separate edit, which is what we'll talk about. Today we'll talk about tech elements and just a portrait of the bride and groom. Can I get you guys right here? Taylor, I know you guys want to party. I get it. (mumbles) Okay. So for these, Taylor, you're gonna turn this way. Sam, you're gonna turn this way. Can you guys come up this way? Just right there.
Do you want my dress (mumbles)?
No, no, no. You're good. Sam, do I, ...
Farris, do I have the bouquet? Great, now, you guys just turn. And Taylor, turn in to Samantha. Whoa, this is really dark. (mumbles) No, no, no, no. You are, yeah, you're good. And then, can you just turn towards each other? I'm gonna get your, beautiful. Taylor, hands around her waist.
Do you want my hair here or here in the back?
Back. There we go, yeah, there we go. Put your foreheads in nice and close. Beautiful. Good, this is beautiful. Can you guys both look at JD? And then Tay, yeah, open your shoulder up towards JD, and then, Sam, lean in a little bit more. That is great guys. And then Taylor looking at Sam. And then Sam looking at JD. And then, Taylor, bend down and give Sam a light kiss. Nice. Good. This is fantastic. Now I'm just gonna do a traditional portrait real quick, because this is what press always likes. So let's see. Taylor, take a step back. There we go. And then, Sam, you can fall right into Taylor.
Whoa, this way right?
Yeah, the other way, beautiful. And actually. Yeah, for your ring yep.
That side, sir.
So for this portrait, I'm just gonna be extra conscious because I wanna get her ring in the photo. And your hand will be right here. No, I like this. So I'm gonna get a portrait right now, and then we'll pop that in. Right, it's beautiful. Let's see. Taylor, can I have your hand in your pocket? Let me just get a test shot. This is beautiful. Can you guys take one step this way? There we go, right there. Beautiful. Good, and the eyes at each other. And then, Sam, bring your right hand behind his back a little bit more. There we go. No, behind his back. Yeah, hide it a little bit more. And then bring your hand into his lapel, so that, right about there, yes. Yes, that's his. (laughs) Can you guys bring your foreheads nice and close together? And then, Taylor, have your hand around her waist. There we go, there we go. Forehead to forehead. Hang out there. Hang out there, hang out there, hang out there. Peel away from each other, relax those shoulders. Beautiful. Take a deep breath and relax that front left shoulder, Sam. Oh, Taylor, boom! Already he has your back, good. Now, Sam, can you look here at me? And then, good. Now Taylor, can you lean down and kiss Sam wherever your lips land? Beautiful. Thank you guys.
You want this smile, right?
I do, I do, I do.
You like (mumbles).
Okay. (laughs) Okay, I love it. Farris? Thank you. You're gonna hold your bouquet, you're gonna interlock your arms. Can I have this hand in your pant pocket? You're gonna interlock your right arm around Taylor's left arm. And then, this is it. This is it, friends.
Okay, I was hoping we would say we're friends or something. (Jasmine laughs) He's like, I love that she called us friends. (Jasmine laughs)
I love it. I love it. Oh right now? Actually, like this. And then, Taylor, can I have, put your hand in your pocket, too?
Maybe under this (mumbles)?
And then lean against, lean. Yep, there we go. Beautiful.
Put the buffer down.
I think we're okay right now. We're shooting pretty head on right now for press, Sam, later on we might. Beautiful, now what you guys are gonna do is you guys are going to casually walk towards us looking at each other in a nice slow cadence. You guys are looking at each other in three, two, one, add it. Beautiful, there we go. Keep the weight on your toes. Keep the weight on your toes. I have to compensate for that light that's coming in. She's, like, really, really, really blown out. But now she's gonna come back in the shade, so I need to be extra careful. I have to compensate. And I'm gonna wait for, this is the shot that I'm gonna want. Beautiful, you're gonna turn towards JD. Good. Nice. Okay, we're gonna get one more shot in this portico and then you guys go out to party. So now what we're gonna do is we're gonna have you guys facing each other.
Should I close that door?
Yeah, I'll close it.
Thank you. So this is, this light is. Gonna do a test shot. I'm gonna use the frame. So the sun is, the farther I pull back from the couple, the sun is. Thank you, no. Oh that's a nice bustle, that's easy. Yeah, thanks. At least we have options. So after the party, we'll do the door, we'll do the vineyards, and I'll call it a day. No, the vineyards I think, I mean, if it's a vineyard (mumbles). Hands around her waist. Eyes at each other. Beautiful. Tippy toes, can you get up on your tippy toes? Beautiful, and then Taylor, you come down and give her a nice kiss. And then make him work for the kiss, make him work for it, lean back, lean back, lean back ,Sam. And then Taylor, you lean into her. Beautiful. Good. Now you guys are gonna look here at us. You guys are gonna walk slowly towards us, hand in hand. Nice.
Oh yes, yes, yes, yes.
So we're gonna do one quick shot for video.
Nice and slow towards us. And looking at each other, nice and slow, beautiful. Taylor, hand in your pocket. There you go. There we go, thank you guys, we're good.
Enjoy some food. So, we are at the end of the wedding day. End of the formal wedding day. So the wedding was slated to end at 4:00 p.m. The bride and groom were taken away. And that's where we're in, like, a waiting period. The press is having to go through questions and answers with the bride and groom, which is not typical of a wedding day. However, it could be typical in a way that after a wedding people just wanna chat and talk with the bride and groom. So we're just gonna treat it as that. Of course there's a propensity for me to be frustrated with how things have gone, but that's okay. We're just gonna roll with it. We're gonna give them the time that they need. Now in previous lessons, I talked about how creating an experience around the photos allows clients to look back at their photos and think of how special that time was. So, the more time that the clients are spending with press, the less time they actually wanna be in front of the camera, and it's totally understandable. I need to respect my clients, but at the same time I need to make sure that they're going to get photos that will last them for generations. So do I think that I'm gonna shoot them a full 30 minutes? No, because I just honestly don't think that they have it in them. So what we're gonna go into right now is we're gonna shoot the bride and groom. We had shot them earlier for about five minutes so that I can fall into a press deadline. And now what we're gonna do is hopefully shoot them around 15 to 20 minutes. As we do that, I'm gonna focus on three main locations. Hopefully, we'll do kind of a greenery area. We'll do a, like, a landscape venue area, second. And then hopefully, we'll see how it goes, but hopefully we'll end out on the vineyard. So that's the plan. Hopefully we can stick to it, and within that time frame of about 15 to minutes we get what the clients totally and ultimately deserve. So I'm gonna be shooting with the 35, I'm gonna get a wide shot with better light. And it's just going to be complete candids up unto this point. Great, I'm gonna balance my time between what the videographers need and what I need. So we're just gonna have the couple walk here. I have a moving truck, I have bridesmaids, I have a lot of stuff going on over here. So I need to crop in camera and get them simply walking and enjoying this. So, Sam. I'm gonna shoot this at a 2.8.
So am I shooting this tight?
Yes please. So JD is shooting tight and I'm, oh actually, right there, guys, was fantastic. JD's shooting tight, and I'm shooting wide. So what we're gonna do is, you guys are just simply going to be walking towards the direction of JD nice, and nice and slow. You guys are just enjoying this moment, looking at each other.
Looking at each other?
Oh, look at your ring!
This is so cute, guys. You just doing that is fantastic. And, JD, are you ready?
Great. Taylor, hand in pocket. Nice. Nice and slow, good. Good, pause there. Taylor, I'm gonna get you over here. Taylor, I'm gonna have you stick your feet underneath.
Whoa, where did those come from?
I think you're just shedding. So, Farris, what do you think? Should we just call it or should we fight for it?
No, it's fine.
Yeah, I think it's gonna definitely, I think it felt.
We can just pull of.
There you go, thank you. I'm still gonna.
Bye, mister and misses!
JD, do you have a case? Sam, I need you on his, you're back in his chest.
Yes, and he's gonna have his, wrap your arms, and then you're gonna relax that bouquet. And you guys aren't going to be paying attention to us at all. You're gonna be just focusing, nice. Beautiful, looking out towards the chateau. Give you guys both a, oh hang on. I needed to switch my ISO, it was over exposed. Need to be at, need to be at 200 ISO. There we go, 640, 640 for the second. I'm shooting with a 35. Looking out towards the chateau one more time, lovies. Great, beautiful. Now I'm gonna shoot wide open for this. Beautiful. I'm gonna test my light. Beautiful. Hang out there for one sec.
No, no, no, you take your time. You get (mumbles). Beautiful, Taylor, can you come down and you kiss, yes, there we go, there we go. We can do that, it's beautiful. Sam, relax that front left shoulder. Beautiful, take deep breath, look down. That left shoulder creeps up on you. Beautiful, relax that bouquet, relax the bouquet. Beautiful. And then eyes down at the floor in front of you. Take a deep breath. Slight smile, eyes here. Boom! Okay, look at JD, sorry, I was being shiesty. Oh, darling. You are just so fierce. Okay, let's do the vineyard. It's gonna be a little bright. It's gonna be a little hot. We'll end in the rose garden, and we're gonna call it a day.
We're bright and hot.
So it's fitting.
Yeah, boom ,done, here we go. Okay, so what's going on is, I suggested this row, JD suggested this one because it's continuous. But I notice that this thing was gonna be competition, so we're just gonna tie it back, hopefully. And then we'll bring it back out.
Ruined the bottle of wine.
No, it's good, it's good. It's good, okay.
Don't let chateau (mumbles).
I know! I know, I'm gonna get a bill for that. Okay, we're gonna have you guys walk down center. And you're gonna hold her dress, and we're gonna make this part of the photograph.
Can I hold my bouquet down?
I would love that, if you did. Wish I could set a 3.2. I'm at 125 ISO. 800th of a second, I'll see where we're at right now. This light is just mediocre. It's not that great, I'm not gonna lie. But, it's vineyard photos. And this is fine. Beautiful pause there. Release the dress, Taylor. Good, and then you'll have that bouquet down exactly where it is, Sam. Gorgeous. Relax the hands between you two. And then look at each other. Taylor, hand in pocket. Atta boy, there we go, now we're ready. We're cookin' with fire, y'all. Good, lean down. I wanna see more of your profile, Sam. Nice, now lean down for a kiss. Thank you. Beautiful. Great. I'm gonna switch my lens, I'm gonna shoot with the 85. Atta girl. Make him work for that. That's beautiful, one more time, one more time, one more time. Beautiful. Good. Yeah, I'm shooting with the 85. So, now what I'm gonna have you guys do, is I'm going to have you guys slowly walk and just as you turn back like, at that. That's exactly what I want. That's exactly. Because I'm not shooting the both of them, will you drop this down? I want him looking at you. So I'm gonna test the light. I'm at 2.2. Now, if she turns back and the sun is not 100 percent on her face, I'll be able to nail it. If the suns (mumbles) too much, I'm gonna over expose them and try this twice. I'm at 2.2, 800th of a second, 125 ISO. Sam, just turn over real quick. Let me get the light test. We're good. Good, Taylor, that side profile, yours. Lookin' good, fantastic I'm gonna have you guys start on the count of three, two, one with that cadence with the left foot. In three, in two, and one, we're walking. And Sam, turn back. Beautiful, look forward. And, Sam, get, whoa, whoa, sorry, boo. There we go, get close to Taylor. Taylor, hand in pocket. Take your time, Sam, take your time. You're walkin'. And you're turning back. Good. Beautiful. Pause there, turn in at each other. Beautiful, a little bit more. So, Taylor, turn your chest in closer to hers.
Is it okay that I do this?
Yeah, I think that's fantastic. Actually, put your hand up, beautiful. And then Taylor, come down close to Sam. So that you create a shadow for her. Closer, closer, closer, close, thank you. On the other side of her face. Beautiful, bring your foreheads in nice and close. Actually, let's do forehead to forehead, nose to nose. There we go. And this time, Sam, look out on the ground in the front of you. And Tay, this is it, relax that front right shoulder. And, Taylor, you lean in and kiss wherever your lips land. Beautiful, thank you. Pause there, pause there. Hang out. Good. Now what I want you to do is, I like that, but I want is instead of this, I kind of want you to arch the back. So push your pelvis into his, make him work for it.
I like that.
Okay, good, good. Great, now we're gonna have you guys walk back towards us. And we're gonna head back towards the rose garden, and we're gonna call this, we're gonna call this wedding.
Let's see. So, Taylor, I'm gonna have you step closer this way. Yeah, yeah, yeah. And then Sam, you're gonna step in closer to Taylor. So we have some major hot spots, so I'm not sure if this shot's gonna. Taylor, can you fix her hair right here? Put it behind her ear. There we go. So this light. So, let's see, the thing I want to avoid is, Sam, you looking up at Taylor. So Taylor will be looking forward and he'll be looking down at you. You will be looking at me, at the ground, at the vineyard. Me, at the ground, at the vineyard, and you're gonna take your time. However long you need to do this. That's right, boo. And you're gonna take your time. I'm over exposing the vineyard greatly just to expose my clients where I need to. And ready for y'all. Beautiful. Oh you got it down. You got it down. You got this down. I love it. Taylor, eyes at your gorgeous wife. She's in almost full sun, to compensate for that, which he does. Beautiful, relax. Relax the shoulders, relax the shoulders. Look at the vineyard one more time. Heck yes, thank you. Dang you guys look good. You guys look good. Were ending this at the rose garden, so here we go.
So here's the thing, so I actually wanted to stop the bride and groom here because it was a portico with greenery, but there's the big bald patch in the greens above it, and I just don't think it's worth it enough for me to fight for that photo. So what I'm gonna do now is I'm simply going to have, I'm gonna look for pretty light. I need to shoot just three more locations. I just need to keep them with me, that if I'm gonna sacrifice this at being one of them, than so be it. So I'm gonna get you guys over here. And Taylor, you can still hold her dress. And you guys are gonna come out towards me. And you guys are gonna be looking, looking at each other and walking. You're just gonna lower that bouquet, Sam.
You don't want it right here?
Yeah. (laughs) Beautiful, we're walkin', we're walkin'. Beautiful. Beautiful. And then, yes, gorgeous. And Sam, eyes here. Beautiful, relax, bring that chin down, boo. There it is. Eyes up at Taylor. Great.
It's almost the exact same look, but it's that side.
Okay, let's do this.
And then, also, (mumbles) real quick.
Okay, so I'm gonna put them over there. Okay, cool. Okay, so JD's my secret weapon, that's really what this is about. Okay, we're going to have you guys. Let me put you guys right here. JD, I need you shooting, JD, I need you shooting tight. Samantha and Taylor, I'm gonna get you guys right over here. Beautiful. So we're gonna create, like, a v with your bodies. So Taylor, I'm here. So this is Taylor, this is you, and you're gonna create a v this way.
So you're gonna be facing that way, I'm gonna be shooting you from behind. We're gonna hold this.
Yeah, you're gonna open it that way. I'm gonna shoot you guys from behind here. Farris, I'm gonna give this to you. Go forward, go forward, go forward, go forward, go forward, go forward, go forward, right there. And then, Taylor, you guys go over there, make my little v.
This is gonna be pretty.
Girl, you have no idea.
All of these are gonna be pretty.
I'm gonna shoot this at a, with my 50. Beautiful, can I get profiles at each other? Looking, oh, right there, yes, beautiful. More profile, Taylor, turn in. Yeah, there we go.
Can I fix the dress?
I'm gonna go tight right now. So I'm actually gonna pull back as much as I can a little bit, just a little bit. (mumbles)
Yeah, I know, I got it, I got it. That would be great Creative Live footage, me falling backwards. That would be, yeah. There's people walking, so I have to pause for one second. And we're good. You guys looking at each other. JD, good, got it. Beautiful. Now you guys are gonna walk. You guys are gonna hold hands, you guys are gonna walk when I have you guys look, when I call you, you're both gonna look back at me. So hold hands. You're gonna walk in three, two, one. And you're gonna look back at me. Nice, thank you. Kay, we're gonna just do one more location. Beautiful. Sam, can you interlock your arm around Taylor's elbow? There you go. And Taylor, have your hands in your pockets. There you go. Nice, and then, Sam, bring your, scoot your booty in closer to Taylor. There we go. Beautiful. Eyes here. Sam, rest your head on his shoulder. Taylor, wake up. We'll get you a drink soon, homie. We're gonna bring you, we're gonna get a drink. And 10 years from now, in 10 days from now, you're not gonna remember any of this, I mean, just the best day of your life. Here you go, boo, here you go. Fantastic. JD, do you need, I want you to get that angle. Great. That's okay. Beautiful. We'll end at the door, Sam. We'll end at the door, and then we're good. This is for you, boo. Here we go. No, I, are you guys okay walking through here? Do you guys wanna (mumbles)? Okay. Great. So, Farris, can we just drop the dress real quick so we can shoot them? Sorry, love. So we just ended a portion of the bride and groom. So we went to areas one, two, and three. And this door the bride had mentioned that this is what she really wanted. So I thought, how perfect would it be for us to end the shoot here in front of this door. JD's getting it set up. This is where we're gonna end it, and it'll be special for the bride and groom, and a really perfect way to just end their day entirely before they get back to the hotel and enjoy a party. So what I'm gonna do first, is I'm gonna shoot just a bridal portrait. Samantha, then I'll add in Taylor. Come out to the edge of the hedge, Farris. Right there. And then back it up. Back it up, back it up, back it up, back it up. (laughs) A little bit more. Are those your moves for the pool tonight? Yeah, okay, back it up on more time, one more time. Farris, sorry, It was just light. Now she's good. Now I'm gonna shoot this bridal portrait at a 2.0, ISO 200. I'm gonna get a test shot real quick, kinda see where we are. It's a little bit dark over here. It just is. I'm gonna know that I'm gonna have to blow out the sky around her, and then I'm just gonna have to say that that's gonna be okay. So right now I'm shooting this. At a 200. At 2.0. Actually, I wanna shoot this, I'm gonna shoot it wide at a 1.2. Because it's only her and I think that we can blow out a lot of the stuff that's, like, kinda create some beautiful light built up. And I'm gonna shoot this at ISO 200, 640th of a second, and an f 1.2 shooting with the 50 milometer. Great, I have the light where I want. And when I initially had pulled back, when I was shooting her from this area, I blew out too much of the sky which became a distraction. So instead of trying to get the sky, I'm simply gonna walk in and just get this beautiful frame around her, and get some beautiful light. I do have a natural reflector popping off over here that's gonna be adding a little bit of light. If this light was not here, it would be far too dark to shoot in this without saving really precious skin tones. Relax, relax the bouquet. Relax it, relax it, relax it. Beautiful, now bring it this way. Good. Now don't think about it anymore. Just, exactly. Take a deep breath. Beautiful. Look down at the bouquet. Beautiful. Take a deep breath, relax that right shoulder, and then bring those eyes here to me. Beautiful. Sly smile. Atta girl. Look at toward that window. The brightest window of them all, beautiful. With your chin, not just your eyes. There you go, girl, beautiful. I'm gonna peel in, adjust my light. I'm at 1.2, 640th of a second. So, beautiful. I have you there, yes, at the bouquet. Gorgeous, beautiful. And then bring those eyes here. Relax the forehead, take a deep breath, just relax your shoulders. Beautiful. Give me a nice smile. Do the traditional Samantha smile, because we know you, we have to have a lot. We have to have a lot of those. We'll have a mix, we'll have a mix, we'll have a mix. Beautiful. Relax now, shake it off. Beautiful. Now give me your just regular, good smile. There you go, girl, beautiful. Take a deep breath, relax. I want you looking down at your bouquet. I'm gonna stand on my tippy toes, I'm gonna shoot down at her so I can get a nice beautiful makeup shot. I'm gonna just move a small little hair adjustment.
And I'm just adjusting hair to save time later in Photoshop. Hang out there for one second. I'm gonna adjust the lighting to 500th of a second, since I'm shooting really nice and close and tight. Beautiful, take a deep breath, relax. I'm shooting slightly down at an angle. Bring the eyes up to me. And then just, you can just relax the forehead, relax the forehead, beautiful. Then bring those eyes, thank you boo. That's it. I hear ya, I hear ya. He's fighting for it, cause you look so good. Okay, we're gonna look at JD. Beautiful. We're gonna add Taylor and we're gonna call it a day. Did you have a particular vision for this door?
Did you wanna do anything by this door? Alright, I wanna make sure.
I love the door.
Okay, good. And, Taylor, this is it.
Home stretch. That's right, this is the 12th inning.
No, it's like (mumbles).
I know, I know, I know.
Is he alone?
No, no, no, no, the both of you guys. See, Taylor, let's scoot you back. Let's get you close to door. And I'm scooting Taylor back closer to the door just to do the light. Scoot back a little bit, tiny bit more. And Sam, great. Lift up, and Taylor, lift up your right foot. There you go. Beautiful. Okay. I'm gonna shoot this at a 2.5. Great, beautiful. Sam, relax that arm around his waist. There we go, boo, there, beautiful. Eyes at each other. Taylor, hand around her waist. Her, on the inside of the bouquet around her waist. Turn your toes towards her. Beautiful. We'll do just one last light kiss. There it is, friends. Boom, great. One more, hang out one second. One more of those. Thank you. That was it. I mean, it was crowd pleasing, that was great. High fives, babe, thank you.
Aw, thank you, so much.
Taylor, right, huge sigh. Huge sigh.
You're the best.
We just finished the bride and groom portraits. What you guys saw us, was shoot about 15 minutes. And if you guys were intuitive in seeing what was happening with the groom, is that he was exhausted. They had been on all day. And they probably have had, maybe, five minutes to themselves all day. I knew that because of that, I needed to make this experience as quick as possible, and as effortless as possible. As a result, we exchanged hugs and affection at the end, so for me it ends up on a high note. So, the way that we ended up on a high note was walking them through having a plan of action and a map of what we wanted to do. I started the session by saying I wanted to shoot in three locations. By the trees, we had a lot of green foliage. Now, this was in addition to that minute, like, five minute photo shoot we had for the bride and groom for press. So I decided not to shoot so much in the green area, but I decided to shoot it differently. I shot it tight, I shot it with the 50 milometer for the first section of the greenery. Then I shot it with the 35 milometer in the greenery at the end. What I want to do is I want to create depth between the bride and groom and the trees in the background, and the sun shining through. So we executed that in the first stage. Then we went to the vineyard. Now, I do know that I absolutely, positively overexposed the sky. And I do know that I overexposed a portion of the vineyard. But I do also know that her dress was saved and her skin was saved. That's going to be my priority, and hopefully in post, I can bring back some of the highlights and really get a photo that I'm really proud of. Technically, should I have been shooting with flash? Should I have had large reflectors? Maybe. Aesthetically it was my decision and I stand by it. The last location, we came over here by the rose garden. Now the rose garden to me was like a safe zone. It was just a way to kind of beef up their post wedding portfolio. Do I think they're gonna like the photos? Yeah, I do. Do I think that I'm gonna be posting a lot of these on the blog or in a slideshow? Maybe not. But by the time we came to the door, now earlier in the day the bride had mentioned she really wanted this door. So in order for us to work it back into it, we had great light and I thought, if I can use the door as a symbolism to the end of the day, I think that would sell the idea and that that would keep Taylor going, because he knew how much it meant to Samantha. We ended it here, and we ended it, again, on a high note. They said thank you. We said we would be in contact, and we absolutely will. Now just to kind of give a closer to the day, Samantha's mom is still in the hospital. She was supposed to be here at the wedding. So we had some communication, and she had said, I really want my mom to be apart of it, but I don't think she'll be able to make it. And she was crying. And I think it hit, like, a nerve with me because I knew how I felt when my mom had cancer. And I said, let's do what we need to. I'm willing to go right now to the hospital, cause her mom was admitted to the hospital. I said, let me go to the hospital, put on a white dress, have Taylor put on his suit and I will shoot you guys there. And she said, thank you so, so much. But how I would want my mom to see me is in my wedding dress. So how about after the wedding you come out to the hospital and we will either shoot at the hospital or we will take her out to a park nearby. And I said, you have my word that this wedding isn't complete until I shoot those photos. So I'm hoping that in the next few weeks I can bring this all back around. Once they get back home, they kinda decompress, and then we'll take them out. We'll head out to where her mom is located. I will do that on my own time, and on my own dime because they deserve absolute the best and the most. So I hope that I can bring you guys along with that journey. But that concludes the wedding day. And that is a complete wrap. Thank you guys for joining the highs and the lows and that moment of stress. I'm pretty sure I have a permanent crease in the middle of my forehead from all the stress and the running back and forth. But we made it through, and I thank you guys for joining me. Thanks.