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Before and After part 1

so we're gonna do now is go through a range of shots. We're gonna be taking a break in probably about minutes. But we'll go to a range of shots looking at the originals, some of which you, Mason, the website, some of which you may not on what we'll do is we'll decide whether the dramatic or not. Probably going to say no for most of them. But we're gonna talk about what we would need to do to make dramatic. So this is kind of the starts of you being creative. We don't think again at this point, we're not thinking about tools we're not thinking about techniques were thinking about. How could you imagine this? Such? It would look better. What would make it dramatic? What would we need to do? Okay, so don't worry about the tools and techniques. If I ask you what would make it more dramatic, just talk about it in general terms. So what will it can't now is taking the raw files material on. We're talking about how you can use your creative skills, your imagination, your aesthetic intention,...

marrying up with some technical skills to create an image so How about this one? Is this or is this a dramatic image they can all share? No. Does it have any potential gone through? I think it looks dramatic because the just the fact that it's like a small person in a big world Yeah, yeah, yeah. But in terms of the people said no. What? What would improve this image? What does it need? I think he's more contrast it It's very flat. It's very flat. Yeah, it's It's It was actually supposed to the lights on the horizon, which would probably mistake says, at least to stop. And 1/2 under exposed Gromit online is saying separate the water and the sky a little bit more could do yet the end. Will Bruno, 26 Contrast Vibrance, singer photog. Maybe a little less negative space? Possibly. Yeah. Better contrast in the sky. Yeah, so it's kind of come back. The same sort of thing is coming. It is coming back to two things Which is contrast separation of the elements and color. Okay, we'll come back to that one. What about this? From this dramatic you can say no. You're supposed to say no. It's all right. What Does this one need any thoughts about what we could do with this? Same. A little more contrasts and more light in the eyes. Okay, way have instigated saying more vivid colors. Yeah, perhaps black and white Yet pop the eye color. Okay. Yep. Textures yet not be possibilities? Well, yeah, okay about this guy. I should warn you, it's occasion. People are frightened of claims. There's no manikins. If anyone's front Americans. There's no manikins in these shots. But here's a claim. So is this dramatic image. It's no, is it? Know what would make it dramatic? Jenga Online says high contrast, black and white would make it more dramatic. Yep, white teeth. Yep, brightness and contrast. Yet higher saturation been yet ing and sharpening creative play on colors. Uh huh. But that one in mind, combative. Now people are saying the color is Heather Ceresa saying, and the color is important, though, Um, Ola's suggesting making a grittier Azure said says, Make it frightening, right? Yeah, yeah, well, again, this is go through these quite quickly because then we're gonna do is come back to each one. Talk about it again on Look what I did with it Um, how about that one? The dramatic? No, not really. No. Fine. We'll skip over that one for time being. About that one. That dramatic. This will. This will please my other daughter because one daughter on the wall there and now there's another one on the screen there. So she's watching. Should be pleased by this one. Is it dramatic? Could it be made dramatic? Yep. Right. Okay, that's just quickly go through these and then we'll come back and go through them again. What about this one? This is one my favorite style of shots or type of shots. Kind of just the random stuff on the beach. So this was saying about the clams gyms and shouldn't prefer time of day for shooting. You know, this is kind of the lighting you avoid. If you're trying to nail the shot, it's just dull minutes flat. But on a bright day, if you got sun overhead or you got the sun coming across you, you've got strong shadows. You're losing detail down the side of the object. Here. I've got this beautiful soft line. It's like the whole thing is just live with soft box, so it gives me a lot of scope for post production, but again, it's kind of go. Oh, just say welcome to Seattle. Thank you. Okay, flat light beer. This guy would come back to this guy. I've no idea. Here we waas I was sharing some other people, and you just happen to be stood watching something, um, on a scale off, Not to 10. Where not is really friendly guy. And 10 is kind of on an axe wielding lunatic on a mountain bike. What's not skate? What? What Mark would you give him at this stage? So no, it is, You know, your friendly, lovely uncle. 10 years. He's psychotic biker. What's it? Yeah, I would maybe give him a seven. You think he's edging towards psychotic biker? Yeah. Okay. Seven. They've been a bit a little bit harsh tonight, getting five or six at this stage, but we'll come back to him as well. We've got ranges from 3 to 9 says hopefully he's not watching. No, it is not. The person got 11 is gonna run off screaming when they see the final. Well, this one is This Dramatic is flat. Isn't again, right, Kate Again, we'll come back to in a second? Um, okay, Contents. Okay, it's flat contents, kind of. Okay, but it's the same as the last long. You know, it's a bit flat, the eyes a bit dark and so on. I'm again is kind of OK. The compositions, all right. Things run thirds. It's gray, it's flat. That's kind of our carry, but it's a bit flat. It's got a regional cooking. That's another one. It's a bit adult, right back to beginning. So what did we say about this one? We're talking about contrast we were talking about. Mostly people were talking about contrast on may be separating the sky in the foreground. Why are people talking about increasing the contrast, what they're trying to do? I know that trying to increase the contrast. But from a creative point of view, what's the benefit? Increasing the contrast? Because I should kind of correct myself. May I thought that it was a dramatic composition, and before when I said it was dramatic. But I think people are trying to say like, you want to bring some more of that emotion from the sky and the water, right? Yeah, that would be one way to go. What else? I'd also like to see the silhouette of him stand out, but im or her stand out right, Stronger. Okay, So when when we're talking about contrast, we're talking about two things you can talk about. Contracts is a kind of a physical thing that we can look at the numbers and folks shop, so we might bring out more detail on the cash. You might bring in more detail in C, but really, I think what we're talking about this one is contrast between him on the rest of the scene. Because that's what shots about, you know, the little twinkly lights on in the background. The No, the not key component. I think it's around about two second exposure. So I'm not trying to capture the breaking waves is to come in. I'm not trying to catch the clams because really, they're not there anyway. So the whole thing is about him. What did you think? In terms of color, we had vibrance from somebody online. He's kind of a bit that whoever said that, what can they enter? That what they mean by vibrance? If they're listening at the moment, I'm and I'm just gonna point out what some folks are saying online in terms of your question. What? What does contrast due to the image Mirer, Martinez says contrast can help show you what's important in the shot you're saying creates prosperity. Says it creates more of an impact. Um, brings drama l g m show the far away light Better. Yeah. Yeah. Interesting that for this one, I'll show I do that. And I went in kind of a different direction. I concentrated on him, Um, when I did that. So in terms of the contrast in the rest of the image, I kind of took it down. So the clowns have almost gone. The detail in the sea is almost gone. Little lights still there. But for me, that kind of work better. This ended up one of the books I've written called Extreme Explosion. If you see it in the US, it's got some star trails in the front. But the UK edition had This is the cover. I'm not entirely sure why, but kind of publishers pick. This is an extreme example of extreme exposure, I think a slight exaggeration. But for me, this was about isolating him. So it's not about the ways. It's not about the transition between the waves and sky. It's about putting him into a particular environment. So my question about Vibrance is that I made it more vibrant but also changed color. So does this thing. This normally gets a mixed reaction that some people like it or to go around. Not sure about the pain. I kind of went through a pink phase recently, but then I have. I have a wife and the numerous daughters and only one son so we can pretend to get bit girly at times. But does this image work? Is it more dramatic than that one? Yeah, Riot. At least agree on that. OK, next one. What do we say about this one? We said eyes color, right? The color. There was different suggestions online. One of them was. We make them pop. Another one would get rid of them all together. What else could we do? You? Who is saying eliminate the jackets color, increasing the biological colors? Yeah, I'll be an option as well. Alexander converted to the Mona Lisa. Yeah, that's nice. Like behind her head. More, LJM says light behind ahead. More slinger food for talks as crop it. Yeah, Derek says definition between hood and hair. Yep, Okay. And Heather Suri says the jacket will bring out the eye color if you can get those. Yes, yeah, that's right. In a minute. One of things. Good point to say, one of the things I'd like to say who used to shoot film most of the users shoot from. Did you pick different films for Duke for shooting different things? I'm So, for example, you might use portrait report, trades, valve, whatever for landscapes, a whole range of different films, depending upon the mood, you want to cry. One of the really horrible things about digital cameras is that they produce a musical look sign. So what you get is very faithful renditions of a scene, but with no character at all. So it doesn't often doesn't matter what make of Cannon or Sony or Nick on or anything else. They have the same kind of algorithms for bouncing white bones, and you end up with these things that look very, very sterile. So this is for me. This is kind of a good example. Again, it's taken a soft line. It's another of my daughter's doctor you saw previously. Way just went to go for a walk and I take the picture. These these are the colors, you know. It's a dull day. Fairly muted colors that is the color of a jacket wouldn't make any difference which camera used. I get kind of the same result. So one of the things I do with post production on we'll be talking about this tomorrow. Talk about toning images is how can you add in some of that character that is lost with the transition to digital. So again, if you If you wanting to record faithfully what is in front of your digital cameras? A. Great If you wanted to put some sort artistic spin onto the pictures you're taking or you want a slightly different color response or you want a new image where the color is going to pop. Previously, you would choose a different film. Now you have to do something with post production or filter or something else. So one of the things I do a lot is what I would call can neutralize the colors. So for that for this image, this kind of addresses virtually all the issues that people raised, but in slightly different ways. So there's been some blur added round the edge just to get rid off kind of the extra fluffy bits. So this was the point about adding some lights behind the image. It kind of looks like that's being done. The eyes are now lot bright, and normally with portrays. When we talk about this again later, you normally transom like to the eyes, but there's kind of a unified color palette to the image. Now the colors match, so I didn't accentuate the difference between them from a creative point of view. For me, there's no point in making a lit bright red and offsetting against what's an unnaturally colored coat. Because then you just drawing it. You're drawing a distinction between two things that creatively doesn't make any sense. She's wearing, and she's wearing a padded jacket. Why, why, why is he drawing attention to that? So this was done in lab color mode that would make talk about tomorrow afternoon, but I kind of unified colors. So know what you see is you see her at rise of hair. The coats kind of there is part of the frame on. You'll see this bit of a bit of blurred added there as well, but it's about her. So it's about removing the distractions, bringing up the eyes, unifying the colors, given some character on, you know, that's kind of a shot anybody can take, and that's kind of something different. It's always reassuring when people check out my website. L love you before and after because, you know, you take shots like I did what cosseted. You know, I'm out shooting in the same circumstances. You you know, this is a shop where we get ready to go for a walk. It's not in studio, there's no lights and reflectors. There's nothing else, but I do know that it can look something like this. OK, but people are loving that shot and are wondering, Did you say you're going to talk about lab color tomorrow way can do. That's in the section where we're gonna be doing advanced techniques. People want to know. How did you do that? You can almost do that with one curve in lab color mode near enough, But yeah, if I haven't got it in one of the files that they've got. I'm quite happy to pull it up and we can go through X's. No, it's not that difficult. As I said, it first shop is not difficult. Trust me, it's not difficult, right to the clan. What do we say about this guy? Does he Can we make this guy look happy? As in, you know, like the Ronald McDonald clown? Can he look like a nice, shiny Children's play thing that you'd invite back to your house to play with your Children? Does he look like that sort claim, Does he? It looks like it's a bit shifty to me. This is makeup done. Well, no is make at night, is make up to me. Looks it doesn't look sinister. It looks like he ought to look Senate stuff a bit like the Joker and Batman. But this is kind of what I had in my mind when I was processing this one. Um, So what would we need to do? Think about what I said about color in the last example is the major change for this image was color. So every suggestion that people made about grittiness and teeth and everything else, in contrast, comes out. But how would you shift the color or change the color or do something with the color to make this make him look? Mawr? I don't know. A soul like the Joker from Batman. How would you make him mawr sinister or evil or whatever on black and White is one answer. But it's not the answer. I'm looking for it here. Photo andya saying Hard color de saturate the saturation. We one option. Make the lips blood red, Vinick says. You could make him look mawr cartoonish. Yeah, Earth Rock says. Bring up gray to white that will shift the color. Yep, that's true, Oseary says. Put a green hue. It's a cross. Yeah, you could do writers. Think about the colors we've gotten image where Just where would you see these colors? Think about route. Then I think about this is think about the room in the house that would be decorated with these colors. If you what? Which room would it be? Kids playing room kids play. Why would you use these colors and kids? Player? They're, um uh I'm trying to think of the word, Um, they're the break colors that you the bright primary colors. Red, green, blue, nice, shiny, bright colors that you expect on Children's toys. So what would we need to do to get away from it? What's the opposite of the colors for the Children's bedroom? What would make the colors look a bit more sinister? So show you. Why did you write your friend enlightening 15 steles. It's only 15 minutes till coffee, so hang in there so different. It's the same again. This is like Callum oats. This is that this is the same approaches this image and shifting the colors round to something that's congruent with the idea in being creepy. So they're not warm colors you'd find in the Children's playroom. You know there's no room in your house is painted sinister colors O R. Three is you not, but admit to it. But kind of these colors don't invoke the same feelings. Primary colors, you know, fun things. These are cold colors, kind of the same. Balance of colors is the same range of color, but they're completely different colors. So everything else is there. The brightness has been brought up. It's being de saturated, his eyes, his teeth brighter, Zeisel brighter. But the main change here is adding colors that are congruent with the mood that you want to create. Just kind of this slightly sinister. Creepy, I think. Yes. Was this part of your vision at the time of taking knows I'm not. Not all with this one. No, I was at Carnival shooting people with that on. This is one of those images that kind of evolved afterwards that you look at it and you think, What am I trying to say? With this picture on, I couldn't make him for me. I couldn't make him look like the Happy Clan because, you know, you can see You can see if you look at the top, you can kind of see through. His wig is going, but even his wig is going bald is wrinkled, has got glasses on. Is makeups are running around? I thought, Oh, yeah. Let's let let's see if we could make him look a little bit more scary. And you kind of end up there, right? This one kind of skip over this one. But what would you need to do to this? To make it more interesting? I would say you could maybe sharpen up the blue telescope and add some clarity and contrast to the sky and some more, uh, your doctor up the grass a little bit. I'll show I didn't know what goes through. We'll have a look at the changes. Does that look better? I'm not sure this quiet constitutes a dramatic image, but it's that kind of include this dramatic change. That's kind of interesting. That's not, um, so if I flick backers and four, you can see the change that have been made. So what have I done to? What's the major thing I've done to the background de saturate the background? Would you notice that I d saturate the background? If you looked at that one first, would it draw your attention? Right? What's the benefit? De saturating background? What's the purpose of that? The subject stands out more. Yeah, you know, this is all about the telescope. Know about the background. So by de saturate the background, it's done zone. I then picked out different little bits, so kind of you see the coin slot in the middle. It's silver, but I went. I went to that color instead. There's kind of a color theme that runs through this one from yellow to blue or yellow blue grey. Whereas in this one you got green, white silver on it kind of looks cold. There's a warmer lightning. Um, the shadows are a little bit stronger because of some contracts, but again, it's shot in a flat day, so I've got some leeway. Okay. Kind of changing the whole feel of it in terms of color. Background on making the objects tending. Okay. What do we need to do to this one? We're gonna carry on with us after the break. We're not gonna get through all these. Let's growl a bit. Slide with this one. I'm betting you're gonna turn this into black and white. Why would I do that? You write as it happens. But what would you try and achieve with this image again? Think about the content. And this is what I'm saying about sympathetic postproduction. Can we make this look like a happy portrait? Can we make a look cheerful? Is it going to look like she's enjoying being photographed? Right? How does she look? What was him? What is her? Moved? Annoyed, annoyed. She looks annoyed. Integration looks annoyed. She looks angry according to Peter. Deb says she looks ticked. Yep, angry. And people are definitely F focusing on line on enhancing the eyes, focusing on the eyes, actually, with this one. She was kind of sat across the room, and she's playing on a DS, and she knew I stood. There was a camera. And she she's my favorite daughter photographing because she just kind of stare you down. It's quite intimidating sometimes. Which is there playing shows. Don't take a picture that I go yet, please. And that was it. So there's no there's no nothing there, really. There's just kind of an acceptance of the fact I'm gonna take a picture. And she's probably not immediately delighted by the idea. So it's not really angry. He's not really crosses. Not really anything, but it kind of You can't make this look happy. So right, we've agreed on that. So how are we gonna bring in this? Is non happiness. What? We're gonna what? I'm gonna accentuate what? We're gonna play out. What? We're gonna change. Well, folks earlier were saying the eyes metallic. Look, somebody suggested Yeah, mute the colors. And I think I think by dropping out the background to black. It's gonna focus on her rather than the backgrounds. I think the red cast on her skin is also reflective Off of that. That background. Yeah, this kind of at this stage, this kind, this kind of a mismatch between the content on the appearance for May. She doesn't look happy, but you kind of got this nice, warm red in the background. You got this nice soft light, but it doesn't work because those two things don't get together. It's kind of nothing image at this stage because there's no there's no coherent message in terms of content is no clear message in terms of processing. It's a kind of That's what I did with this form. Andi, would you can push this one harder. I think I've got this in the folder for the Black and White. Tomorrow you could make it even more per name. So if you make a lips dark, for example, should look even even crosser. Yeah, go. I'm curious. I was actually thinking the opposite. I was thinking more of a high key image again, with the focus on the eyes. I'm wondering, Did you try that too? It would be more difficult to turn us into a high key because the background shooting ordinary images for high key I would shoot against the lighter background. You can't. You could kind of do this one, but would high What is Hai ke se? Normally we would bring the focus, given the dropping focus that I mean, even greater were shout, shout shallower depth of field to me and it would just really bring the emphasis to our eyes. And I assume you could get rid of the read through photo shop and turn it into a hike image. If you wanted to. You probably You probably could. One of the things will have to agree to disagree on this weekend is that everybody has their own idea about where they want to go with an image. You know, I can't tell you what your creative vision should be. What I'm trying to tell you is how you can use tools and think through these processes to realize that corrective vision. Um but we're gonna We're gonna differ. We're gonna disagree on some images for me. High key wouldn't work. High key for me conveys a different moved its kind of either a more neutral field or a kind of a serial type thing or kind of I don't know. If you wanted to betray your daughter is kind of a fairy like creature. You would use high key. If you want to create a darker moods than kind of this, this kind of high impact black background is gonna work better. You probably right. It would be more difficult to process it high key because of the background. Uh, going I think that the black converting, like from the red to the black works really well, cas, like her hair is that darker color. So it blends in the background. It was, Yeah, the thing I fiddled about with most in this picture was taking out because you look a hair on on the right, you know, it's kind of she hasn't come to hear the Martin this morning on a lot of it just vanishes. But the reason it vanished was kind of got more and more annoyed with the state of the hair and kind of wanted to Comey during post production, which, because you can't do so gradually. Just trip trimmed hair drink price reductions. We went through, So you're absolutely right. You know, high key would be one way to get would focused attention on the eyes. But for me, that wouldn't create quite some mood. I may try it. No, no, no. You mentioned it and I want to see if it works. Yeah, I'm just curious to me. I I totally hear your point that it's more ethereal, but I was actually thinking of it as being colder at the same time. Sort of harsher, which might her attitude. So yes. Yeah, you may be right. Yeah. Again, I'm drawing on us off my own assumptions about what I do when I'm doing high key. But you are probably right. Kind of one thing that's really important with salt workers. If you if you're experimenting with post production, your experiment with techniques and new ways of presenting you what you have to show them to other people. I've been doing this long enough now that I will have an idea about how people react to something that I do. But it's crucial that at some point you show the people you work because if you don't, you don't know what reactions creating the similar stuff will be talking about today is that, you know, kind of you showed your family. They're not us. You had a vignette because it's kind of a technical thing for a creative reason. And they won't know whether you've done it on. No, but generally you need to know what reaction is created. So asking people, what does this picture say to you? You have an idea about where you want to go. Doesn't. Does it come out? Does it come across? So for me, I'm trying to capture the fact that she's She's not happy in this picture, you know, she's not living. She's not leap up and batter me to death with the DS. But she's clearly not happy on that That comes in. It comes out in the region, but it comes out mawr when you finished. So I may look a high key Tonight's you got me intrigued about this will be interesting to see where we go with that one. Okay. Next one, right. What? We got like a broken bucket on a beach kid's toy. Yeah, on the face of that's all we've got. We've got a broken bucket on on the beach on. You know, compositions kind about Carrie. Kind of see poised, poised and ready to go. Uh, Rodney Bensel says It looks like a flat image, um, photo. And he says, It's the driest beach I've seen for a while, Alexander says. An ironic image. So people are saying the whole is interesting. Maybe that could come out more. There's a little holder. Yeah, make the sky more dramatic. The But it could be more yellow. Ah, whole go look. Yeah, Yes. Kind of Got the colors for kind of going to tie camera room. Yet J. Warp says, Put the clown's head in the bucket that my daughters are coming around. The sides are glowing. Not good. That would probably work. Okay. And selective coloring several people are saying is right. Nobody's picked up on what? To keep one of the key components of the image that would I'm gonna guess the sand. I'm not sure something to do the bucket. It's broken. It's definitely broken. There's no doubt about that. I'm not repair it in post production there. Seahorses on the bucket there. Seahorses on the bucket. Right. Okay, well, there's a seahorse on something else. You see, what? The other thing is fish a fish, right? Right. Now, again part. This idea of seeing things for post production is you're looking at this and just not noticed. Um, so what can we do with those for me? That's what the shot is about. And you'll see why, When we look at the Finnish result, what do we need to do with them? So we need to make him stand out more. Yeah. Yeah. And separate them from, like, the smooth part of the bucket. Yeah, so kind of the bucket needs more contrast. So they have a gun. You know, it's not amazing differently, but you would notice them. Now, when you look at it there, you see the broken bucket on the beach and it's kind of a broken bucket on the beach, and that's as far as you get here. You've got a broken bucket on the beach with some detail on the horses coming round. It's following the fish around the block, a bucket on the kind of now a key component of the image. So all the other things that people said as well was about the contribution made the sky more dramatic. so the sky's a bit more dramatic. You know, this guy is quite flat. Um, one of things we'll talk about later is a lot of time in postproduction we're trying to do is create images that look plausible if at all the time trying create, just look plausible, but almost is that they've been lit. If I said to you, you know, how would you like that image? You'd say, Oh, well, you know, that's interesting detail inside the buckets. I need to like that bucket to bring the name kind of that you got. You know, I'm not quite sure how you'd like this one, but it doesn't look an artificial. There's no harsh transitions between different bits of post production, but it does bring out these key details. So the bucket becomes a key element, and it's an interesting one here. It's something in a flat grey environment. There is the focus of attention are to stretch this one slightly, but that's not especially relevant by the bucket. Slightly bigger does that kind of makes sense. We've got a few more minutes just to do what I think we're heading up to a break. So are there any questions from the the online audience that you haven't asked me yet. Alexander is asking, What did you do with the sand? Um, it's really just It comes to things. The contrast has been increased. So this kind of ants, this grittier, grittier feeling. So there's no Scharping involved. It's simply because you've got this distinction lighter and darker grains. When you increase the contrast, it looks grittier. I think part the key thing here against this idea of color. So it's how would you? And something that creates there. The colors are quite natural there. There's kind of a hue to the shop, as though you've chosen a film that was congruent with the scene. It's a kind of it for this image, this kind of warm yellow across the highlights, but not in the not in the shadows. What kind of added the tones, the image that's congruent with the buckets but also tends the sky eso There's some yellow in the sky now that matches the yellow in the bucket, which matches the yellow in sand so beyond adding a bit color and contrast. Nothing much would be the answer to that question, but kind of the toning is quite important. This image as well. I think it brings it together there. You've got the sky in the bucket and the sand, the kind of just separate lumps of stuff. Um, here, the image from May is kind of more Congress. It hangs together in that one. Does that make sense to you guys as well? Black and white would probably work this one as well, but then it would have been more difficult to make a buck. It's done name. Leaving this one in color works quite well because is quite vibrant. Um, so people were saying that bring out the yellow, in fact, probably cited the saturated, but because it's brighter, but it stands out better against the background. Okay, so we got a range of images there so far, very quickly. How does that there's any of that? Change your thinking. So far, you're a position where you can elaborate how yes, yes would do at this stage, and I could come back to, you know, it's honestly like a lot of things you've been showing right now really been like making my brain think in different ways. It's like opening up. It's like changing my context of how I'm viewing some things, so I can't quite elaborate clearly yet, but it's shaking up the brain cells. Well, Excellent. How about by the rest of you, I'm feeling a bit Yes, I really like the especially this one. It's just It looks so much more dramatic when the original photo. And like, it's just a bucket on a beach. So I think it's really cool. Yeah. I love my beach. Coming shots. Yeah. Yep. And ah, David, Several people are long online, er timing in Azaz. Well, Dale O'Brien says yes. Makes me think of how you can show detail and an image that cannot show it. Yeah, um, Sailor says yes. Changes my thinking. Can't wait to go shooting and reviewing lots of old pics. Same same for me. I've been sitting here. You have 20 already in my head that I know you're gonna go back. And this is one of this. Yeah, This is the reason I said, Doug, start your roll files away because a lot of the time, you know, it's becoming less common for me now because I'm kind of plateau in what I'm doing. I need to. I need to kind of move myself one of it as well. But frequently I could go back and think, Yeah, let's take a look at that one. That's gonna work. Um, do you keep your orphans because you develop, you put your post production skills change in the developed, you could go back and look at something, right? That's that's finally I know what I wanted to say without image. And this is how I'm gonna say it. So, yeah, hopefully the end this week and everyone just lock themselves away on that. We're going through the hard drives and be massive outpouring of dramatic images in the next week. That would be cool.