Post Processing Our Photos
All right. We're back from the field. And we are at the computer, and truth be told, this is where I'm at most of the time. You don't see that behind the scenes too often, but most photographers are spending majority of their time at the computer. There's a lot of editing that needs to be done. A lot of admin, emails, all that good stuff. So this is kind of, where I feel the most at home. I'm used to traveling often being on the road. And so I've gotten really used to editing on a laptop. Most people prefer a nice big desktop, When I'm at home, sometimes, I'll have an external monitor, things like that, but typically I like to just be able to go wherever and not have to rely on that. So today we'll be editing, just a normal kind of routine that I will do. We need to get the photos off of the camera onto the computer. So I use a SD card, this is 170 megabytes per second, it's 128 gig card. I just like to have a large card that I can not have to worry about how many photos are on there. ...
I'm not usually filling this up. It's got a fast recording speed, which is key, especially if you're just firing off shots like crazy. So, I'm gonna put it into my card reader. I have two different hard drives, so, the LaCie, and this is a SanDisk Extreme SSD. These are kind of more of the rugged hard drives that can take a bit more of a beating. It's okay when I'm on the road, and stuff like that. But typically, you want to keep these in a safe, dry space. I always back everything up for redundancy's sake to both of these, I keep them in different places. I'll keep one, usually on me, something like this is nice and small, one in my bag, in my car, wherever, just to, you know, if something were to happen, at least I have two copies. And then, when I'm at home, I have a bigger system, which I back everything up to there as well. So, you don't wanna lose your files. Always keep multiple hard drives with everything backed up onto them. So, in my computer, I have my SD card and my hard drive. As you can see on the screen here, I have my files. I've already gone ahead and done it, but you basically just drag it into the folder that you want, right here, I have it labeled Wildist Workshop. I have it split into, The Falls, Mt Cheam, basically labeled, so I know which location I was at to access them. So then I'm gonna open it up in Photo Mechanic. I use Photo Mechanic to basically go through all my images. It's a great platform, because you can sift through raw images really fast. From there, I make my selects, so I'm not bringing everything into Lightroom. I'm only bringing into Lightroom, the images that I want to edit. So we'll go here, Wildist Workshop. So now you can see, I have all my images, and you can go through them really fast. And I basically use a numbering system. One is gonna be the ones I really like, two is, potential, three is delete. So then that way I have it categorized, so I can go through and I know exactly which images I want to use. So, I already kind of know from being out there, I was explaining, I was trying to separate Joel from the scene and we got really, really lucky with the clouds, as they're passing through, because it did a really good job of highlighting him, creating a lot of drama and color, and really separating him from the river below. So I already know most of these photos, I might look back at it in maybe a year from now, or something like that, but I know a lot of those ones I'm not gonna want. So, I'm gonna go down to, a bit further down. And another thing I wanna mention too, is that I don't always, I always back things up fast, but I don't always edit them right away. I like to kind of let it marinate, and let it sit. Sometimes, I get so excited and wrapped up in it that you, over-edit or you overlook things. So sometimes, if I have the time to do it, I'll let it sit, and I'll come back to it at a later date, when I have a bit more time to really focus in, and figure out the story that I want to tell, and the images that I wanna keep for the certain project that I'm doing, or the story that I want to tell in a certain series. But, I'm pretty excited about these, and I just want to kind of show you the process. So we're gonna go through, and I'll explain to you why I'm picking the ones that I pick. I really like these, basically because I like the foreground. I like the movement, but the reason why I don't like this photo in particular, is 'cause he's facing to the left, he's walking to the left, which is kind of drawing you away from the scene. I want something where he's moving into the scene, 'cause your eyes are gonna look from the left, to the right. And if he's walking this way, it's gonna draw your eye that way right away. So that's why I wouldn't choose that image. As you can see here, with him walking towards it, you can already see what I'm talking about, where it's leading your eye in a little bit more, it's a bit more eye catching, and to me, it just makes more sense to use something like that. So we can see these images already just are portraying what we're looking for. That mood, that drama, that separation, the shadow. You don't see who he is, it could be anyone. You could picture yourself there. It's a bit more relatable, and it really gives a good sense of scale. Without him in the image, say we were to zoom in a little bit. It wouldn't be the same, yeah. The zoom's not working very well, but hey, there we go, You know what I'm saying? So, I'm usually pretty fast. I already know what I have in my head, of what I was shooting, I already know which images I like. So when I'm going through photos on here, it's a fast process. So, basically just to sum things up, I already kind of know what I have in my head, from what I'm shooting. Basically, I'm just, I'm looking at what is sharp, what is compelling, things that are standing out. And I'm just gonna label those with a one. Once again, these are nice, but I don't like how he's looking to the left. It once again takes your eye to the left. So I wouldn't pick that one, but I like that scene. This one, it's a bit more, it's a bit more what I'm looking for, but I don't know if I like that half step, so I'm not gonna choose any of these. I'll put that one as a two, and I'll put this one as a one. I like how he's kind of stepping into that frame. Same with these, we had a lot of clouds kind of hazy, but stepping out. So the difference between these two photos here, you can see the separation in his leg. I'm gonna put this as a two. This is a one, because I really like how he separated. It's just more eye-catching it makes more sense. You can see both legs, it's not hidden. So, I'm not gonna go through all these with you, basically just kind of showing you what I'm looking for. When it comes to a Panorama, I already know which images I shot, and you can see because the composition's not fully there, it's kind of cut off in some of the images. So I'm keeping note of that, and I'm gonna assign number four to keep all my panorama images separated from the rest of them. So I'm gonna go 1, 2, 3, 4, and you could see those are them. You could see, I shot a couple other ones there, just going through, I like these, so as I'm going go through that, I'm just kind of sifting through. (laughs) It's quite the show. It was quite the show with those clouds in that sunset. I'm very elated with that. So for the Panorama, I know which ones I wanted. It was the ones labeled in that four, but I'm gonna give another example with this, 'cause it was a multiple image. The clouds were kind of a pain with that one, so we'll just stick to the first one. And it's just to give you an example, you know, like a lot of time I'm taking ages to go through, my editing process takes a while. I wish I was a lot faster at it, but to be honest, I'm not a big fan of editing. I'd rather be out in the field shooting. The only time I get really excited about editing is if it's a photo that I'm really, really happy with, and I don't have to do too much. I try to get the settings dialed in, in camera as much as possible. So I don't have to edit too much. I have a very clean, minimal editing style. I don't like to go too crazy with it. It might be partly because I'm not a big fan of editing, or it might just be my style. I'm not sure, I'll let you decide, but let's make a couple more selects, and then we'll go into Lightroom. We also shot some HDR, bracketed images. I'm gonna keep that in a separate folder as well. Just so I have it all labeled properly, and I'm not getting confused. So I'm gonna do five for that. I had four for Panorama, so I'm gonna label it with a five. I have an image here, here and here. So you can see I have it overexposed, underexposed, and then that happy medium. So we're gonna blend those all together, and then create that HDR image. We also played around with a neutral density graduated filter, the 0.9 ND filter. So you can see here on the screen, I have a few different options of when I was moving it around. It's just finding one that, the highlights aren't too blown out. Everything's looking clean, something like this. This is a great example. We got, everything's exposed well in here, it's not overexposed up top. That's gonna be a really easy image to edit. So I'm gonna select that. The compositions are all the same. I played a around with the built-in setting as well, it basically automatically pushes them all together in camera, but it creates a JPEG, so, I typically try to avoid that and just do it manually, For you to learn as well, if your camera doesn't have it, this is what you wanna be learning anyway. So that's perfect. So, when it comes to blending our images, I'll show you how to do that in Lightroom. All right, so I have made my selects. Now I'm gonna go through and bring them into Lightroom. So I'll show you by tags, how I have it color coded. This is my selects, I want to edit. And then here, that was the ones I wanted to delete. I haven't gone through them all yet. This is the ones that were kind of second choice, maybe I'll come back to them later on in the future, and then here I have my blending options, and then here I have my panoramas. So, I'm gonna Control + A, select all, export and then import, sorry, import them into Lightroom. So basically I'm just gonna copy them over from my hard drive, not onto my computer, but back onto my hard drive. You don't wanna put on your computer, 'cause it's gonna take up a lot of space when you want to reserve that for your hard drive, and then that way, you just have to bring it with you wherever you go to edit them, which isn't in pain in the butt, because overall it's just gonna save you space. All right, so we have our images in Lightroom. I'm gonna pick one or two images here and just show you my thought process when going into an edit, and the little tips and tricks to navigate it. When it comes to style, I like to keep it minimal, natural, and have that feel, basically bring out the feeling of what I felt at that time and convey that in the image. So as I was saying, I didn't like these ones because he was walking the other way, but I still thought it might come in handy at some time. This was a great image, just to show the scale. He's, kind of brought out from the background with this cloud, nice color, You got nice lines here. To me, I'm really happy with this image. So, first things first, this is the temperature. You can only do this with raw photos, you can't do with JPEGs, you can't control the white balance. I had it set to, I believe, cloudy, but now you can bring it towards a cooler, or a warmer white balance. To me, it felt like we were just in this orange ball of fire. So I like that warmer feel. It was at 5,800, probably keep it around 6,000, The tint, I think how we had it was pretty good. Let's keep it at that. The exposure, as you can see here, this is the blacks, the shadows, the exposure, and the highlights. So we have really well exposed highlights. Our blacks are pretty dark, but I kind of want that. I want it just to be a really dark silhouette. So I'm gonna focus on that. The exposure, I'm not gonna play around too much. I'm pretty happy with how it is there. The contrast, I'll bring it up a little bit, just to create a bit more mood. Highlights, once again, I'm pretty happy with that. If I were to adjust the highlights a little bit, I would use the gradient tool, which basically kind of works as that, same filter that we're using, but once again, ideally, you want to do as much of that kind of stuff in the field, so you don't have to edit in here. You're not gonna get the same look with this tool as you would in person with the actual filter. So with this, you press O, and it'll show you your layer mask. You can, choose how much of it you want to cover the image. Do you want it really harsh, or do you want it faded and blended more. So if I were to do it, I just clicked O to show the mask. Maybe you want to bring the highlights down a little bit. You would just go like that. Now you're only controlling the highlights in that mask. So, we'll maybe just bring it down a tad. You can also use the radial filter, if you want to highlight out. So if I want to just isolate him in this, I would invert it and, say you want to bring him out. You can add more exposure, shadow, whatever it is you want to do. We could probably add a little bit of shadow, just darken it a little bit. So this is what we're working with. You can kind of play with the feather of it a little bit. If you want it harsh or soft, we'll soften it a little bit, and just place it around him. Not necessary for this, 'cause the shadows will be working super well. You could also, instead of that, use a brush, and brush it in. Once again, O shows you what you're working with, and you can change the settings from there. Just gonna right click to delete, 'cause I don't want that. The clone brush, basically, if you want to remove him from the subject you can do that. I don't like how it's done in Lightroom. I prefer to do that in Photoshop, if I were to. Once again, I really try to avoid doing that kind of stuff. I want to keep it as natural as possible. This is red eye correction, don't have to worry about it. And then crop. I like the crop the way it is, but if I were to crop it for Instagram, I would do a 4 x 5 and I'd rotate it. This image doesn't really work well for Instagram, just because, we lose sight of what we're doing there. And that shortcut was L, basically just isolates the photos So you can look at it. Another shortcut is the left slash just below delete. It shows you before and after, So you can, as you're going, I like to see how I am looking compared to the original, but I might have just got a little ahead of myself there. Just wanted to show you all the tools up top. So, let's continue on. Texture, probably not gonna play around with that too much. I might just do a little bit. Clarity, same thing. I don't like that look, that's not my look, that's way too soft. That's way too harsh. I usually don't touch these too much. The Dehaze, this is a good example of that cloud or fog and you want to get rid of it. This will do a really good job of removing it, but in this image, I like it. It's, exactly what we were after. So, not gonna touch that. Vibrance and saturation, that controls the whole image. We are gonna go in and isolate what colors we want to change manually. Here you have the tone curve. This is where I like to do most of my adjustments. I try not to do it here in the basic, because it affects differently, So, for example, look at the highlights here. It's kind of just picking it up in the major highlight areas in the top, where if we look where we do it here, it's the overall image highlights. You get a, oh, sorry, that's the lights. If you do it here, it's overall image highlights. So, it's a lot softer and less noticeable in here where it's really taking that whole thing of the image, where here it's only isolating those peak highlights. So we'll just bring it down a little bit. And here, I want to isolate this. I wanna isolate him against that foreground, so that I'm gonna bring the shadows down quite a bit. You know, that's a bit too moody. We want somewhere in between, about there is fine. Could bring up the darks a little bit, just to make it a little less moody, kind of retain some of the shadows. So here's before, after. So it's a little bit more moody, whether you like to show the shadows or not, that's up to you, but I like to really just kind of create that drama and that mood. The only color that we really have in here is an orange. If you want to isolate it, you can click this little adjustment tool, and place it over where you want to change the color. And it's a mix of orange and yellow, as you can see here. So if you want to make a bit more green, you can do that. If you wanna make it a bit more red, you could do that. I was pretty happy with the colors. I would maybe make it a little bit more red. It's a little bit more pleasing to the eye. I really like that color, as opposed to that more greeny yellowy look, it's more how my eye saw it too, was that, that red sunset glow. So once again, you kind of see it before and after what's looking like, I'm pretty happy with that. It might be a bit dark in those shadows, so I'll just ease off a tiny bit. I don't like to saturate too much. I'll probably do a little bit, just to bring out those colors. Once again, we don't really have any other colors in here, so that's not gonna matter, but you get the ideas. You can isolate any color and choose it directly. Basically, by going to all on the HSL slide The luminance, I kind of like a bit of a bright scene to contrast with the dark shadows. So I'm gonna just bring it up a tad. Color grading, you can isolate, you got the midtones, the highlights, the shadows. You can basically create your own colors and mood. I might, I do like these more red midtones that we're getting here. So that's original, that's that. I'm gonna just do a little bit, maybe about five on the slider there. Shadows, so you can see it's affecting in this area. The shadows work quite a bit cooler, so maybe we'll focus on a bit more of a blue, but not too much. Highlights, once again, aiming for that red, the blue is basically just toning it down. So we don't want that. You know what? I'm pretty happy with that, How that is there. Sharpening, I typically keep it at what it's at 40. You don't want to go too much more. For Instagram, I might sharpen it a little bit more, maybe 50, just to get as much detail out of as possible. Noise reduction, I was shooting at ISO 400, so you don't have to worry about that too much. If it was pretty noisy, you can play around with that. Typically, if I have an image that's really, really noisy, I'll use a program called Topaz DeNoise Lab, Topaz Labs, DeNoise. It's a really good tool, specifically meant for removing noise from high ISO images. So in the lens corrections, you're gonna see, this is the I camera shot on, This is the lens I shot on. They all have a little bit of distortion. All cameras have a little bit of distortion. It's typically in the first 15 or so millimeters of the lens that you will get it. So I was shooting at 57 mil on a 24-70, so I'm gonna get a bit distortion in it, sorry, I'm not gonna get distortion in it. It's the earlier, so basically from 24-35, you'll get a bit distortion, but other than that, it's just gonna distort your image and bubble. You're gonna get a bit of vignetting in the lower apertures, especially. So F2.8 would have a ton of natural vignetting in the lens, at F.4 still has a little bit, so you can see that's with, from the natural lens vignette, and that's kind of removing it. I don't mind a little bit, but I personally want to go in and do it myself. And I will do that by using the radial filter. The reason I like to do that is, I'll go invert it, you can control where you want the vignette to lie, as opposed to the natural borders of where it shows you. So, sorry, I'm not gonna invert it, 'cause I want to isolate him. So I'm gonna bring it down, Now you can see, for example, you can show that, you can feather it in where you want. So I'm gonna do 55 degree or 55 feather, and I'm just gonna bring it down a little bit. I don't want it too much, but at least now it'll isolate. It'll create a vignette around our subject, Joel. So I'm happy with that. Once again, I can spend five minutes editing image. I can spend five hours editing an image. It's all dependent on how I'm feeling at that moment in time, and how much work the image needs. Ideally it's minimal, but sometimes, due to certain conditions, whether it's harsh light, or you're just not getting the ideal frame that you're after, you might have to spend quite a bit of time in Lightroom or whatever editing program that you use. Transform, this is if you need to make some adjustments. I typically never really touch this. So, I'm not gonna go dive too deep into that. Once again, you can do a vignette here, but it's all based out of the corners. You can't isolate a certain subject, and move it where you want. So, typically don't mess with that. Grain, if you want that kind of film grain aesthetic for your photos, you can play around with that. But I typically don't do that. In the calibration, I'm happy with how my camera's calibrated. I'm not gonna touch this too much, but if you want to play around with the tones, You can make some touch-ups, and play around with the sliders. But overall, I'm pretty happy with this. I might come back to it another day. I tend to do that. I'll make some adjustments, and I'll come back to it at a different time. Sometimes, I just make horrible edits, and I question what I was doing at that time, maybe there was some liquor involved. Is this water, is this gin, tequila, who knows? You'll never know, but maybe I just was making some horrible life choices, and started editing some photos, I wake up the next morning and was basically just question everything that I was doing. So, I recommend to sit on your images a little bit, let it marinate, soak it in, but this is basically a good guide to showing you how I would edit an image. Another example for this, just to kind of show you, I would probably bring down the highlights, just to darken that top edge because it's a little bit brighter. So that's how I would use that. This I would use to vignette, the radial tool. Oops, I keep pressing root. I would use this to kind of create a bit more of a vignette. And I wouldn't touch the brush, if I were to, it would be just basically only to isolate these clouds, and bring down the highlights a little bit. If you press O, It'll show you where you are, So I maybe a little bit over there. You can then just go in and delete it, and you can choose a bit of a feather as well. So that was a very quick edit, but you can see already, just those tiny little adjustments can make a huge difference. So, that's basically a little run through about how I would edit. I'm not gonna go too deep into that because it's all subjective. Each image, I'll have a different mindset going into it. I normally have an idea of how I want to edit it when I'm shooting it. I don't really use presets. If I'm batch editing and there's a lot of similar images, maybe I'll make a preset of that first edit, and then apply it to other ones and tweak it. I could also just copy and paste it. You can choose here, you can see the settings, choose what you want to copy and paste, and then apply it to the second image. But that didn't work because I didn't choose local adjustments. Boom, there, you can see that. Is it tequila? Is it water? Is it gin only? I will know. So, I now have my blends that I want to do, my high dynamic range images, where I shot a very overexposed, very underexposed and medium exposed image. So I'm gonna show you how to blend them. I don't typically do this style too often, but there's times where it can come in handy, especially if you don't have an ND filter and, you're shooting with varying different light sources. So, you're gonna choose the three that you want to blend. You're gonna select all three, you're gonna right-click, you're gonna go, photo merge, HDR. You wanna do auto align, you don't wanna do auto settings cause you wanna control those settings yourself. And there's gonna be Deghost amount. The issue with this is there might have been a bit of wind, and as you're taking the photos, if it's a bit slow, there might be some movement in the flowers. So it's hard to tell if that's just from the wind, or it's just the Bokeh. So let's just see, let's do a high Deghost amount, building a preview view, Okay. You know what? It's actually looking pretty good. I don't think we really need to, I'm not really seeing much of a difference. So let's just go with none, merge. It's add to task. It's creating an HDR image. We have a sip of our water as we wait. So this is our blend of that, that, that, and that. You might be happy with that, that's workable, the highlights are a little bit blowing out, so here's the difference. It's pretty similar. Just a little bit, you know what, let's see here, we might bring that down, just to bring the highlights down a little bit, bring out the shadows, warm it up a bit, make it feel how it was when we were there. Beautiful. I really like that. Now, if we're gonna post this on Instagram, I would bring into a 4 x 5 crop. I would get rid of this here. And I would like how this line, is in line with the top of the mountains. So we get a bit of the drama in the clouds, but we're also getting quite a bit of flowers in the foreground there. So you can play around. Let's bring down the highlights a little bit, bring down the shadows a little bit. Once again, just creating that look and feel that we're after. And here it might play with this, just to get some of that cloud detail, might mess around the texture. So you're gonna see, I kind of almost like the original bit better there, and that's just one of those things again, where it's just really being in the zone when editing. That's why I said, I didn't want to go too much into detail on this. I just wanted to show you how I use the settings. And when I do them, as well as show you, the tools to make your blends, which is selecting, photo merge, HDR, and then you'll just let it do its thing. From there, you can create your edit. Do it to how you're liking, once again. I just like that minimal clean feel, but let's just create another one and I'll show you what it looks like. So most cameras have it built in, but it creates a JPEG image, which I don't like. So I'd recommend that you just do it manually. It doesn't take too long to create. Here's our DNG, we have a nice evenly exposed image. The shadows are a little dark, so, probably bring them out a little bit. This wasn't the most optimal light. It's probably an image that I wouldn't use. I'm being really selective about what goes in my portfolio, what I share online, Instagram, social media, all that kinda stuff. So, some of these images, it's fun to shoot, but it's just more or so a practice for me and just playing around. Probably won't see the light of day. And that's just the reality of a lot of my images are sitting on here. Very rarely, I'm posting a ton. It's just like some shoots, some hikes. I don't post anything, I don't share anything. There was nothing. I was really that happy with. It's a big numbers game. You're constantly out shooting and waiting for the right conditions, but it's just a personal preference. I like to be very selective about what I put out there, and making sure that I'm putting out stuff that I'm really proud of and really happy with, because quality beats quantity. So, I could have shot that whole scene with a wide angle lens. The reason why I didn't do that is 'cause I like the compression. I was shooting zoomed in a little bit, and I wanted that feel and look, but I couldn't fit the whole thing in. So, I shot multiple images, with a little bit of the previous image in each frame so that the computer, Lightroom, knows exactly what's going on here. So actually these ones are the same, so I'm just gonna do these three here, and go and develop, photo merge, Panorama. You're gonna see you have different projections that you can do, more of a spherical, cylindrical and perspective Let's boundary warp it. I think the perspective is giving us most kind of clear of what we had there. So let's merge, it and we just play the waiting game, wait till that creates a Panorama for you. And this is honestly, just a great way to get a really large file. That's another reason why you'd wanna do it is because we have so much detail in each frame that you're combining it and you're getting a really sharp image. This is great for large scale prints, anything that you want to show a lot of detail that you might not get in one image. Okay, so we have our Panorama here. It was a little tricky because our settings were changing 'cause of the clouds were kind of coming in and out. So that's something to keep in mind. But I just wanted to show you how to, stitch that together, a real world example from when we're out in the field, maybe you like a 16 x 9, you can crop it like that. Maybe put the moon in the center, and now you have your image, which you can go in, and make your edits. I'm not known for my edits. That's not my style. I'd say more of my compositions and the framing and the places I'm shooting. So that's why I didn't want to dive too much into editing. I just wanted to kind of give you my workflow, and what I'm looking for in an image, things that I'm kind of highlighting and bringing out the colors, things like that. That's just a creative, artistic thing that each person has that they're gonna really find what works for them. So that's basically your go-to, to creating and stitching a Panorama. So, a little trick when it comes to exporting with this image in particular. Say you want to export on Instagram, you ideally want 4 x 5, that crop's gonna show up the biggest on somebody's phone. It's gonna take up most of the screen. Sometimes you don't want to do that because the image doesn't work. For example, this one doesn't quite work, but say, for example, you really wanted to make it work. A little trick that you could do that I learned was, you go to the transformation with the aspect, you're gonna squeeze it in, and then scale it back. You can see that's outta frame. You can move it into frame a little bit. And then now you get a lot more of the image in the frame. The only issue with this is, you can tell that this image has been distorted quite heavily. So that's probably not something you wanna do. But say you wanted just the river in it. You can now squeeze in a lot more into your frame. It's just a bit more compressed. So that's a little tip and trick. I don't always recommend that, especially with landscapes, you can mountain tops and peaks and stuff like that, they'll look really compressed and it's just not what it looks like in person. But there's some images that you might really want to have that just 'cause it fits perfectly into that frame. So let's get rid of it. My export settings for Instagram, I have it all kind of preset it into my export files. So my user presets are Instagram, export, print and then website. So I'll give you a quick preview of what my settings are here. I put it into a desktop folder called Instagram export. I don't rename the file or anything, because if I need to find it's linked to what it is here. JPEG, RGB, quality, a hundred, resized to fit, width and height, these are my settings here, 2,160 with the width and the height, 2,700, Resolution, 72 pixels per inch. Screen high. That's what I'm gonna do for Instagram. For a print, I'm gonna put it in different folder called print. I'm gonna have the quality pretty high 95, 100, It's all very minimal. I don't resize the image to fit. I just go to 300 pixels per inch, sharpen for matte paper, standard. If it was very particular image that you wanted, you know you could resize it to fit what your crop is gonna be. But typically you just want a high resolution image and this will give you that. For web, you don't want too large of a file because typically that will take your website load time is gonna slow down. So you want to have images that are really low file size, but still high quality. So I put into a folder called website. I have my quality up around 95, 100. Resize the long edge 1600, with 72 pixels per inch. Sharpen for screen, high. And that gives me an image that I'm really happy with for web. So those are my export settings. It's constantly changing, the way Instagram and all of that. I've had to update it so many times over the years. So keep an eye on, they have resources on their site. and there's also blogs and stuff like that, that are always on top of it. So, yeah, that's, that.