Basics of HDR
Very excited to share what I've got to share with you today on hdr would get a lot of information that we're gonna cover on dh you know, first of all, why don't we just talk about, you know, what is h d? R is a question or a lot of people always ask and hdr is hi dynamic range, so, you know, we're going to get into some different examples, and I'm going to show you what high dynamic range is but there's a lot of misconceptions about high dynamic range and hdr some people think it's an effect on dh some people think it's and imaging process and actually what it is is it's both. So if you think about, you know how things just really changed from when we first started working with a pit j pegs, I don't know how long you've bean working with with images, but, you know, they would fall apart very quickly and then, you know, I'm going to go through the kind of the history is, well, a little bit, you know, but what I wanted was just given overview first, so with hdr, it gives us a lot more sp...
ace to do a lot more things with that photograph, so there's a lot more information, there's a lot more dynamic range, which we're going to talk about as well it's almost like your photograph on story so part of it is you can get a look that people see in hd are and you see this look is kind of you khun do you know like you'd see in the back doctor up right there that is one way of working with but the other way is actually the future I believe it really is the future of digital imaging so if you look at photographs right now when you look at them on, you know, even videos when you look at them on a tv set right now, for example, you know, you see it in a kind of looks, you know, looks a lot better than it used to with hd tv, and you look before that, you know, things were kind of soft, there wasn't really any two blacks and the contrast things were kind of very pixelated looking, so hdr will, I believe, replace current imaging so eventually every television, every phone, every device that we use is going to be using hdr it's already used in the process of make king movies and photographs, but we're not viewing them in hd right now we're just viewing them with the technology that we have available today, so eventually when we actually are able to view these things in hd are and they do have in hdr monitor which has been invented in fact dolby systems right now licensing the technologies that something is being developed and you know we're going to see it coming really quick so this is actually the next wave so right now a stare and think of it a little bit beyond some of the stuff you've seen on flicker and some of the you know, overtone mattes stuff that's giving it a bad name it's not a gimmick it's not a you know, it's the future ofthe imaging so you know now is a good opportunity get on the ground floor maybe not quite the ground floor but maybe the second or third floor right now because you know, there was a couple of years ago but this is going to be everywhere this is this is the future s o you know I'm really excited about it so I'm gonna actually teach it to you a little bit more than just the typical time mapping stuff you see I'm actually going toe talk about you know, hdr imaging as as a format as well so that's going to be fun but before we do why don't we have a look at a couple of these hdr examples that I haven't here and I'm just going to open these up in birgitte I can shoot you in here just give you an idea of trymon way did find out that we can use the time square image wonderful that's good plan to hear that it's uh me too that's a cool image I agree it it's a column which we have limitations with logos and stuff like that we have to work with so all right so I'm just going to start I'm just going to go through some of these and not spend a lot of time on about you know what? We just talked about them a little bit so this is actually an example way will work on this example today and this is an example of you know using hdr with people and models and actually composite that's not even a composite this is actually just one shot and I'll say it kind of hard to that later on so you can merge with people you know when you apply hdr people you don't have to make them look like they have skin eating diseases you can make it look very natural so let's just get through his landscape obviously it works very well with the landscape images here we're able to extend the diamond range and one of the things about this is you know this is when I was in maui if you look at this this is able to show what I was looking at at the time you know when I was there and I was taking this photograph I saw the sun setting and the rays come across the ground kissing the tops of these rocks and obviously you know I should you know extended the shutter speed to get that kind of misty look across the top there but I'm a ce faras the tones and that that more represents what I was looking at the time so part of hdr is enabling you to reproduce what you actually saw at the scene more faithfully because I don't know if you've ever had that experience you go out and you see this beautiful scene and you take a photo and then you look in the back of your camera and you know you're just incredibly disappointed you know and then you take it home you like that's not what I saw and you know and we'll get into the science of that before just because that I just has the ability to have a much why the dynamic range than what your camera can capture and that'll be the first thing we'll get started on when we get through the slides here so with hd are you able to more faithfully reproduce that here's another example this one is a little bit more stylistic and one of my favorite cities in the world to photograph is chicago I just love the architecture and chicago's incredible we were just talking about that this morning and how after the fire you know it was like this blank slate where all the best architects from around the world were invited like coming buildings in your city and I had contests to, you know, to build these buildings and it was, you know, almost like an art fair of building a city which is incredible and because of that, you know, we just have the most amazing architectures cargo, which is why I just, you know, and it just gives itself hdr just with the detail in the kind of more detailed stylistic tone mapping you can see here, so this might be more along the lines of what you're thinking up when you're thinking of hdr, you get stuff like this, you know, where we can actually composite this is a composite of two photographs that's, you know, eleanor from gone in sixty seconds on dh, the backdrop there is boston, and I don't know, I don't think ellen was even being a bust in but, you know, kind of composited in here just the hdr compositing to see, you know, yeah, that could be done. S o we've on here, this is death valley once again, I'm trying to reproduce what it was that I saw early in the morning with the tones. Andi, you can see it's kind of very cool, I don't know if you have a bean to death valley and shot there is the most amazing thing is in the morning you got this massive, you know, whats just this big valley here and everything is cool and then the sun starts to pop up and in the backdrop that you can see it's just starting to warm up there and then as the sun starts to pop up over the mountains, you get this beautiful warm tones across the sky, but it's still cool in the bottom because the light hasn't quite hit there yet and then when it comes across in the light, just starts to race across the valley and in just everything just just eliminates and changes color and it's like it's on fire. It's beautiful and you know what they say are were able to reproduce this in a way that we just couldn't, you know, using a standard photograph, he would just lose that whole that whole feeling here's another shot there, you can see on their, you know, halfway up there where the light is starting to race across the valley. There you can see on the back there's still showing the shadows of the mountains where it's cool and in the foreground, the first rays of the morning sun hitting and notice even the detail there in the rays that I'm able to bring out and, you know, the sun itself there obviously, if the sun was popped up over the top, I wouldn't be able to capture that because you should directly into the sun is too bright for hdr but you can see the incredible details some more stuff from chicago you know we're just able to really bring out the detail there in the windows if you even look inside each one of those windows you can see the lights are exposed andi if you look in the shadows everything a ll the detail is there and that's one of the beautiful things about hdr is you're able to bring out the detail and the shadows in the highlights simultaneously typical photography if if I shot this on on one frame I'd be able to expose for that building but I would lose the sky and all that beautiful sky would be lost um bradbury building in los angeles and you can see right there we got outside you can see the detail you can see the people walking around I think it's about fourteen or fifteen stops of dynamic range in this in this shot and if you don't know what that means don't worry we'll explain that but you can see simultaneously outside all that detail as well as inside and and actually get back to that this is a big use of hdr is for architectural photography because you know when people are showing houses and shooting inside they usedto have tio shoot you know the interior then there would have to shoot the exterior and then composite and all the windows the outside so you didn't just have this blowing out white and all the windows so faced air we can save a lot of time with that, too, and setting up a lot of extra lights to eliminate certain areas. Once again, this is the bradbury building. This is the elevator shaft it's such an amazing building that's where they shot the movie blade runner and several other movies and you concede, but the atrium there, the light, the amount of light coming through that roof would just typically completely blow out, you know, a ll that and everything that you're seeing here, all these gears in everything would just be black, but you can see the details coming through nicely. They're not people in the bay bridge, san francisco on let's just get through here's, another one in chicago and this is just the harbor there, and nighttime is actually something interesting when it comes to east e r, where there's a lot of contrast is where really comes through and a great technique to just really make things pop and surprisingly, you know, it might not seem that way, but night time is when you get the most contrast because you've got a lot of shadows, you've got a lot of a lot of dark areas and then you've got a lot of artificial light as well as moonlight eliminating different areas where is during the day? A lot of the time you know if it's a very harsh over because I'm not over custody a very harsh, bright sunny day and the sun's right right over the top you're gonna get a lot of contrast there now, which is usually the time when photographers don't shoot generally speaking photographers shoot, you know, in the morning and in the evening, but using a chair you can shoot during the day you can actually get around some of these some of these problems now having said that still magic are still the best time to shoot landscape because it's just so beautiful with the colors and everything uh, so let's just move on is another one they're from chicago. This is the chrysler building now I went very stylistic on this one on purpose and this is actually even though she cargoes my favorite city this is my favorite building the chrysler building is section incredible building in er just such a beautiful piece of art deco that their little stylized gargoyles on their stuff like that. Sorry, but it was obviously you know, I pushed this up because I wanted to show the detail on that one another one here this is once again using a model and not making her look like she's about to die now this one here now the model itself she was not shot in hd I shot her in the studio and I modeled the tail in maya and texture map that all kind of photos but the moon there is when I had the supermoon now I think was a couple of years ago I actually just went out on the street with my five delighted the mark too at the time and you actually shot a steer and was able to get that moon that detail there in the moon in the sky so that's guy even though I composited that in that was actually shot as an hd are and composited that and also foreground there you can see why she's lying on was actually she hates me because I made her line he's big plastic boxes you know you know, you know the old thing you know, if the pose is uncomfortable it's gotta be a good one so so you know, she still gives me a hard time about that, but then just composite these rocks in there never from laguna beach and obviously, you know, the ripples and stuff are all fake photo shop so here's another example here this one wasn't composite, so I shut that was lena a shot her in my studio and in the background there was in thie union station in chicago and then I just composited around and it's able to just give you just something a little bit different from your usual you know composite chicago chicago boston now you know I'm not going to zoom in on these because just just because of you know time like it's been all day getting into any of these guys but I want to inspire you this is why I'm you know showing you these photographs on do you know so when you go when you can actually see an incredible amount of detail when you zoom in and you'll see that throughout that when we're working but this is the fire station now and his own central park new york now here's something that would typically be impossible to do where is the sun you know everybody tells you make sure that the sun's behind you when you're photographing right you know that's the first thing everyone teaches you you know and so I'm breaking the rules here this is backlit and that I've got this beautiful lands flare coming but why's it back because I want to shoot the water if I'm shooting that water and the sun's behind me the water's not goingto light up see how the water just lights up like that that's because it's black backlit and you know I'm sure you know a lot of the students have been watching a lot of lighting classes here and creative live and other places you know when you're shooting things like liquids and glass and semi transparent objects backlit is the way to get everyone of frank like those jewels wanted back like him. So some breaking the rules here and I'm back lighting this fountain but it's giving it a really good look but also one of the things I noticed two is amusing really slow sho to speed um really dragging the shutter and I'm able to do that and still bring out the details now typically you would lose all that detail in the front there if I'm back late, you would just get a silhouette on understanding photograph so let's, move on here another one in boston. Boston has tremendous buildings with this great brickwork and stunt work they have there it's just amazing place for hdr. In fact, I was there last year from my tour and you know I'm gonna go I mean, I just photographed the crap out of out of boston. I just went out there and just want in fact, I did a fifteen city tour last year and I shot five thousand photographs and out of those about four thousand bracketed for hdr, another one from bust in and another one you can see the detail that when you go through the glass, another thing that works really well is reflections and glassy I'm cutting through the glass and showing a detail on there but also if you look into the bumper and look at the look at the detail there the reflections if you look into the top of the bumper with a grill is reflected you can see all the details in there and I just love chrome when it comes to a chair because one of the things about kermit so you know I asked people I'd love to ask people this this question's a trick question it's really not better this is what color is crow and I'm sorry that I'm cheating but I'm going tio what color would you exactly most people would say silver yeah on really well what what color is silver crumb doesn't actually have a color kermit's like a mirror it's reflecting its environment and what you see is the floors on there you see you know the when things distort you know the reflections distort you know and stuff like that but kermit itself you know in a purist form is reflecting its environment and low down immigrants photography you don't see that kind of detail that's why people say it's silver because they used to looking at this late dynamic range and I don't really see the detail but if you really look at any texture and you look into it you can see like if you look into the current there you can see it's reflecting its environment so that's one of the things I love about that I actually did this one a few years ago, one of my first hdrs I did a number of years ago, you can see I didn't remove the sense of dust, I'm really bad at that, and you're just very, very cool. And this was the kind of that kind of stuff that got me an armed with a with a staring it's kind of like hdr is, you know, like a good restaurant, I guess you come for the the, you know, the wow factor when you first do hdr, you know, you get into the big time mapping, pulling out all the details, all that stuff, and then later on, you start to grow out of that instead, you know, appreciate the dynamic range in the quality of the image processing, so I like to say, you know, hdr, you know, come for the effect and stay for the benefit, so you keep coming back. This here looks like pain tree kind of thing, but it's, not it's, just photographing the water and actually letting some of the ghosting comes through, and it just kind of does this really cool effect by using the ghosting and ghosting is, you know, I'll get into more later, but let me just quickly touch on it now, ghosting is when you expose multiple frames and then you moved in together then what happens is something that was in one frame that's not in another frame will start to show through just like if you do multiple exposures like I know my mark three khun do multiple exposures on one frame or back in the days of film you know, some of us remember that, you know or, you know, some people might be shooting film now you don't advance the film and you expose that we used to expose multiple times on toe one frame and that's kind of what ghosting is except you're trying to get the same thing, but what you see is the movement between shot so the water will move, you know, leaves will blow, people will walk through the frame and then there were just kind of show up as as ghosting, which is what's happening in the water there, which makes it look like it was handpainted that was just kind of a place in new york I was experiment of color a little bit there and that was the logo I was using at the time and that was my key becoming logo, and I just get a composite on the building just for fun thiss one here you've seen this is the one we've been using for the course and the model I shot in the studio there kind of this is that like a good versus evil of course if you look at the top of the clock tower you can see the villain so just kind of just a fun thing I was doing a new york city from above uh here's another chicago one but this one I kind of did cem effects too and I just kind of the watercolor effect and you know some different fault ism photoshopped just to kind of show you know what you could do stylized if you want to you know I kind of wanted to make it look like a little texture on there to kind of make it feel a little bit more tactile certificate you know you know I do this other photographs why not do the tonics tr and as you can see it really gives a good result which is more emulating national colors because when you do the photographs that you do the watercolor and my pant I think it's horrible I hated it just looks so fake because you know you think about that artists that were painting and especially like back in the renaissance you not giving your not history anything but you know michelangelo da vinci and botticelli came out and I started to paint in a realistic fashion before that you know, if you remember like the old art like water and stuff like that it was two eyes they would show to rise even if they put them on the same side of the face because there's two eyes it was very literal and then these guys came along you know, the round since came along and then they changed art well they didn't have photography then they were like oh you know what's the dynamic range of a piece of film that I can emulate they just chose the colors and then I painted and so one of the beautiful things about hdrs when you apply a painterly effect it looks more like the colors that an artist would choose on the palette where is when you do a lot of it with just a standard dynamic range photo and then you apply a couple of filters to it to make it look like was painted it doesn't because it's a reduced dynamic range people wouldn't be using that pigments they'd be using maur different kind of colors because of thing about hdrs it doesn't just increase the dynamic range of shadows and highlights, but what it does is it also increases the range of colors in fact, you know we hear about colors being out of gamut well in a stare there's no color out of camel the gamut is actually lodger then thie available colors so that's another advantage in hd r which is where sometimes people trip over that and I don't understand and they use oversaturated pictures when it processing it because you know, sometimes it's done very tastefully and sometimes you can tell when it was like you know, someone was like wow, this is my first hd iran wow, I can put all this kind of color in here that I wasn't able to do before and I can put this detail in here I couldn't do before and it's kind of the old rule of you know you do it because you can no because you sure anyway so moving on hears I was up in many annapolis and this is describes what my impression of any many annapolis wasn't my first time there last year and the thing that blew me away about the city was was the old and then you you've got these incredible big glass towers and then you've got these old historic buildings so you know, the story I had here was, you know, the old reflecting in the new and showing the old classic building inside there with the new building and see how with hdr collecting that extra dynamic range and extra color information, I was able to really get a great reflection inside of that building inside the glass so that's another thing that hdr gives itself really well too I'm just some tramps and san fran you know they're fun I love writing knows another one from my favorite place to have a lot of fun with these this one here in new york city so here's another thing to think about that a lot of people don't realize is hd works really well for black and white um in this case I only used two exposures now this was hand held and I took three exposures but the longest exposure was it was just too soft and I couldn't use it so I had teo right away but it was able to create this with two exposures no modifier light have given any sort of a flash or anything no no, this is just a stage of street photography just hand held a lot of the stuff I do when I'm shooting, you know, cities and stuff is I don't take modifiers, you know, flashes or anything like that, everything is you know, as it is, you know, kind of like landscaping talk, okay? I mean, you could illuminate certain areas and stuff like that if someone hired me to photograph their building, I probably would, but the case, I'm just walking down the street, I'm just walking around my camera, looking for anything that looks interesting, that I want to photograph cool. And so once again, eleanor e should get some work on that I should do the website for kind of sixty seconds and, uh, that was a beautiful car gets or right and that actually and man she's doing really fast, it's like classic american muscle. You get a name, you can smell the gas fumes and then you get on the street and it's just like a plane taking off so much was power. This is a beautiful car, the second hearing because I can hear them and it's this incredible and it's just so much fun to write and they wouldn't let me drive it but least I got to write it. And now, he's example, I'm showing this is an example of what not to do. I was kind of funny because I s why I leave this in here when I say what not to do if you want to do this, by all means, go ahead and do it. But there's there's a few mistakes in here that I don't like about this particular shot from my personal taste. I love the middle if you look at the middle horizon line where the clouds are hitting the sunset, that looks great, maybe I could have corrupted in a little bit, but I just feel like the ocean eyes too much texture, there's too much going on the clouds of too dark, you know, and this is and my pain was over processed a stair is one of my earlier hd ours at the time I thought, wow, this is really cool you know I'll do this because I can but now I wouldn't persist this particular shot like this I love the detail in texture when it comes to architecture when it comes to vehicles for things like that particularly you know it's going backto architecture because that's history the little every little scuff every little piece of you know step that's war nor every little scratch tells a story it's probably history of that building or you know those man made objects but in nature I've got this beautiful vista in front of me why would I wantto destroy it like this? I mean hopefully I'm not offending him by saying it was my photo so I guess I can khun you know around my own photo down but I just wouldn't process this image like this anymore for the for the nature stuff I prefer to beam or natural and realistic when it comes to nature and a man made stuff then I make my man made stuff man lead that makes sense right? So here's another one that was just a lot of fun and I know this looks like a toy like a little miniature model and this is times square I get home a bunch more of times square but unfortunate conscionable causes logos and stuff but you can see those so there's other ones on my website don't push up cafe dot com you can see those because I'm not under the same restrictions but here this is actually inside the marriott marquis there's ah there's a little bar on the I think it's the eighth floor or attempt floor and every time I get in new york I go up there and I just sit at that window with my camera and and shoot and and this time around I decided I was going to do something a little different I wanted to do a tilt shift hdr so I actually used the lens baby the edge eighty it's a little hectic I have it in here so that wasn't indeed until chitlins yeah so this is the you know, the blends baby one here I don't know if you've seen I'll put on my camera real quick I wasn't really planning on showing that, but I'm a swell and so these just kind of pop on here and with the lens baby it's just you know they're very inexpensive and you just kind of move them around by hand and you just manually discreet it so if you pull it to the side like that then what it does is it actually creates a sweet spot a cut of the sweets but you know where I say sweet spot that means it's um focus so the lions babies you know, throw all this stuff out of focus and they're all soft and blurry and capture really cool lighting things and then they have a very small sweet spot but with this one it's a line and so by doing that I think just kind of create a strip is you can see their little strip of focus you can see because that that angle there or that angle across the photograph which gives the appearance of everything being miniaturized and so you know by doing that and shooting multiple brackets I was able to do that but then what I did to is to really add to that sense of I really want to make this look like a toy or a model I saturated the colors a lot so you can see in the clothing on the people and you can also see in the vehicles and stuff it's a very, very saturated which kind of makes it look like little hand painted model lt's so it's kind of you know just a fun effect and also just open up the creative opportunities you know when you're shooting hdr you don't have to use standard lenses you don't use standard techniques experiment you noelle the crazy techniques that you do of other things try it with hdr you know works works with you know panorama it works with time lapse you know there's so many different things you can experiment with and you know time lights for example people have seen the game of cards is a game of cards is the show on netflix yeah yeah yeah and you look at the introduction it was a photographer there I forget his name but in d c who shot all those supers he spent six months shooting that anti opening sequences all hdr time lapse and it's just it's incredible it's beautiful stuff to look at so that's pretty intriguing so usually you make your time lapse might be thirty seconds apart so in each increment they do multiple exposures yeah, absolutely and in fact you could do that I'm actually getting ready to experiment with some of that I just didn't have time before here because I was getting ready for the closet but I'm a minor villain madurai khun sit that okay to take bracketed shots and when I get into that you know the mechanics of each dare it kind of makes sense but you just say you know kilometer to take whatever you know have any second you want to take your shot and then it will just take a sequence and then using software which we'll touch on earlier this afternoon you can actually bash process the hdrs and automatics and create, you know, timelapse sequence or something like that so it's kind of a little bit more advanced than we were at right now this this particular part of the class but but you know what? We'll talk about that later on in the day too you're also inspiring the chat rooms so far we already have like seventy five questions oh great we're doing it on questions and thank you guys out there for your questions keep them coming colin's going to cover a lot of this stuff as we go through the day so we'll answer the questions as they become relevant yeah so it's just kind of like the warm up we're gonna get teo techniques and a little bit here I love in the warm up so and here here's another one you know the same thing at the same window and you can see it's just a different different composition of the bass I thought the bus was kind of interesting and the little rickshaw there in front of it so here's another one this was not a till shift I faked it to make it look like a tilt shift this is what we call a river and ella this's our river this's the los angeles river very famous spot here I'm experiencing this spot in a million movies and tv shows it just happens that you know because it's the entertainment capital of the world everything is shot in l a and anything that's half interesting is and everything in fact I lived in a loft there just recently and downtown items every week that was shooting a commercial or a tv show almost every day when I went out I had to you know, it was film crews and stuff there and I turn on a commercial remember ten on volkswagen commercial opens and the garage door was wrong. Hey, that's mike arrives though. I mean literally in l a every thing is the film said says this is the l a river and actually I gotta be honest I think I preferred the vision over before trying to turn it into effect but if you look at the water in a reflection you can see this is incredible just just the way it looks that makes it look very silvery with the with the yard getting that detail out of the reflections that would normally just be blowing out understand photograph andi his you know another example black and white this is a union union station again in chicago and this is the scene from you can tell I love movies country you come and see if you can guess which one is it the one with kevin costner and the baby going down the stairs? Exactly. Fantastic. Thank you. This's the stairs that the baby went down so no babies were harmed in the making up but you can see when you look at it, look at the interesting things about the stairs that if you actually look in the middle there you can see in the middle how they're more worn where people have been walking you know, particularly back in the day when more people use the train and they do today this was a very, very busy place I mean it's still busy but but that's one of the things you know when I talk about using hdr to bring out texture the texture tells a story and you're looking at while most people went down that's their they went down the other stairs too you can see how that one where more foot traffic is then where it's not it's kind of interesting so in las vegas so you see there's an example of ghosting there are people on board for some weird reason I decided to leave the ghosting and on here I'll teach you how to get rid of ghosting but I purposely left because I wanted teo kind of give a simulation of movement and temporary you know like this this even though it's you know it's not what I mean a month teller hotel you know is a famous landmark but it's not, you know, something from thousands of years ago in ancient rome or anything like that but I just wanted to give the impression of this is more timeless why the people a kind of temporary so I let them ghost on that reason, you know, so it kind of tells that story but if you look inside whether illuminated inside each of those little cutaways you can see the statues and then you can see the amount of detail that showing through in the in the photograph this is one I call warmth just I just love the way that bush is there at that little tree there plant in the window there and it's just nice and warm and it just says that beautiful warm glow with detail where is outside everything is called and it was very cold this was in boston on dit was quite a chilly evening and I was actually really lucky to get this shot was actually an accident I was actually shooting this building from further away and then as I was starting to shoot it the streetlight they turned the street lights on and in the street light just completely ruined the field I was looking for so I literally set everything up and then looked at my cameron streetlight come our manis I said moved in closer tio now so the streetlight wouldn't show and then I saw a new composition here with the light with that that tree there in that detail just kind of looking into because originally it was supposed to be more of a contrast of the sky because it was an amazing sky that night so you know sometimes you know happy accidents you know plan b works out really well once again you know introduction to that one so here's a more natural kind of an effect here this is once again using the lens baby I'm doing until shit this is a new york city and and you can see that boca and a distance there you know we can fake boca in photo shop and some of the filters do that but you can see the actual boca they aware the lights you know just turn into a little little circles there and you can see the kind of odd shapes which is interesting because sometimes you get different shapes and boca and you can see that the lens baby gives it a really interesting shape now this one here I called whoville and this is like oversaturated on purpose this's boston and I just wanted to go for a very I don't know if you could use the example thomas kinkade kind of look it was just wanted to do something different and just really bring out the colors and stuff in the city so typically I don't set right things this much but in this case I did it on purpose and if you look into the city that you can see a lot of those buildings buildings that why should you pictures of individually so so that's you know kind of going through there so let's sum talk a little bit well yu knw reputation questions on those if anyone has questions on those otherwise we can jump into the actual more technical side of things I think people are excited for both throw you one question do you ever shoot? This is from andrea portis. You ever shoot animals? Animals? Well, I mean, I'm not a hunter. Sorry. Photograph animals. I'm kidding. Assed faras. I don't do any pet photography, but I mean, I do go to the zoo. I'd like to hear you have a annual membership for the san diego zoo and, like, get down and photograph animals at the zoo. It's kind of fun. Okay. And are there any subjects that you that you would like to shoot in the future for hdr that you're sort of pondering? They think, yeah, if anybody in internet land has connection, I would love to get airplane graveyard and shoot some of those airplanes, but you have to have a military clearance or something to get in there. So so if anybody wants, just kick me like something I would love to do, it actually looked like a model in there, too. And he's really cool stuff like that. And the other one is I'd like to do is go to detroit and shoot some of the urban decay. Nothing would give itself really, really well, tio tio.