Lessons

Lesson Info

Exporting and Feedback Loop

This is very simple. So what we do as a baseline? I'm gonna switch over to our funder and show you real quick. We have a sub folder set up for this already. We've couple. Actually. The 1st 1 is a master Tiff folder where we export from light room to full size tiff into the tip folder. And at that point, light rooms done, we can close late room, way. Don't ever have to come back to light room again because for every subsequent export that we want, if we want a Facebook export is an folio export a watermarked blawg export. We're going to that in a photo shop for bridge or some other application other than light room. I personally like funding myself. I think that that has a lot of good use for water marking. That's what I use for my images. I think Susan might use it to weaken. Ask her in a few minutes. Right. So we're gonna exporter tips into this folder. Full size, full resolution tips. You can change whatever settings or adjustments that you want for that export. I recommend making a ...

preset. I believe we have our preset here. It's just a very, very basic preset. Um, there we go. OK, so we have one foreign s rgb color sat one foreign adobe RGB color set. That's pretty much it. So your choice. We don't want to argue about SRG versus Adobe RGB. So we drop these into the tip folder. Once this tips are created, that's it. Like I said, light room can close. And then now we're gonna use a different application. You know, Photoshopped, whatever to make the rest of these. So at this point, you know, Master Tiff, it may just go here. If I make a full size set of J pegs, I'm gonna store them in this folder. Let's say you want to do something specialized for Facebook watermark. I might want to keep those separate, even previews. Let's say I could take my proxy size D and G's and run to wrap J picks is to see what they look like. I could do that here. Or if you wanted Teoh What I use previewed apex for our I will oftentimes take my two star my blawg images and I will export a smaller version of those into preview because I know I'm gonna be putting them just on the blawg. Right? So all of these components, when you put them all together, that's this is starting to fill in all of these other sub folders that we had originally. So all these other components, this whole thing right here is what comprises their project, This thing, this whole portable, you know, self contained folder project is what we can now back up. If this is sitting on our work, Dr this is getting daily backed up to our secondary drive. When this project is done, I'm actually gonna take this entire thing. I'm gonna move it to my long term storage. I'm gonna wipe off my work drive. So everything that's sitting right here, he's gonna go away. I'm gonna clear everything out and start fresh. And when I deliver it to the client, I eases and I use an folio season also uses in folio. There is a plug in for photo mechanic that allows you to upload directly to Zen Folio, which is very helpful. If you could just open up your J pegs in photo, mechanic uses an folio plug in and just put it right into the gallery. We'll even let you create a gallery using that plug in a zlotys, you're logged into your account. It's very handy, and it's also very heading to because you can quickly navigate with photo mechanic, you find your Master Jay Peg folder and then Q Add up to upload, right? And regardless of what you're delivering to your client, which is your choice, whether you're giving files or not, I always upload my full size J pegs. That's one of the reasons I love Zen Folio is for the storage space because it gives me another offsite backup, just in case just in case. Yeah, you're talking about doing a lot of things with the Master Jay pigs, but I didn't hear how you're creating those. You said. You create the tips coming out of light room, you close light room. Why don't you also export J pigs while you're in there? Knew that was coming. Question. There's okay, so there's two reasons one of one of them is a workflow reason because in kind of this assembly line process, I want to export once from light room and I have done, I want I want to move on in light room to editing because that's what light rooms. For the part two of that. That first reason is, if you remember, when we went through and round trip for black and white photos were creating tiffs. If you're the type of shooter that creates a lot of black and white images proportionate to your shoot, you actually get a little bit of a performance boost from this export. Because every time you make a tiff for black and white, that tiff gets used for the export light room doesn't re exported, it just simply grabs it copies it throws its. You actually get a little bit of a boost on that export when you do it, so one is the workflow reason. I want to clear up light room, reset it, put a new catalogue and start editing, and then use my computer or another computer if I had one to make my J picks because it takes a long time. This is something you could do overnight. You could use another machine you can actually running in the background while you're editing. The second reason is more of a technical reason. If you export a J peg from late room at a certain quality setting, and you export a J peg from Photoshopped, the exact same Jay Peak at the exact same quality setting. Light rooms will be much larger, then photo shops. We don't know why it's been that way for a very long time, and I think they admitted to that. Nobody seems to know why, and it may change. But it has always been the case that that j peg it the same quality was larger, and I don't want a larger file for no good reason. And it's roughly it's like a to 30% difference. It's not an insignificant amount. It's a large amount. So when you put these things side by side at 1 to 1, zoomed in really close. Quality is virtually the same, but the sizes of these files are different. Light room makes larger J picks for some reason, so you can use bridge to do the conversion. If you want. We use a script from the John Room going in the APP. I know we're working on the app to make this all easier, but you can use bridge and, like he said, you can run in the background. It also doesn't. It means that you're not tying a plate room for additional time. For us, that size different is actually makes a huge difference. Because when you're exporting J pegs and you've gone six or seven or eight or nine gigs worth of J pegs that you have to deliver, shaving off a couple gigs matters. I mean, it makes a big difference now, so I would rather use something that can compress them as as well as it can. Photo shop just does a better job. So and if you're delivering the images on like a USB drive or something, that difference really does matter. The difference between you having to buy a four or an eight gig to deliver to clients, you know, save every dollar you can gonna do it so soon we've exported, delivered back up Any questions on backup? Pretty clear. Ready for our guests? Our guests coming. Are we ready? Who's your way? Have a mythical gas unicorn. Trust me, she's really she's very real, and we're basically going to talk a little bit about feedback loop. How editing can help you shoot better, so we will bring on the legend, the amazing photographer and my very good friend Susan Stripling. Excellent. You know, things I don't. But now you know them to sort. Of course, I think I will. Excellent. Actually. Should hire your set up here because I don't have it. I know, I know it is sad, but I mean, I think that you know the thing that we kind of want to end all on in addition to taking any other questions that might be out there, we kind of just want to talk about even though editing can be really frustrating and it can feel like it's taking up a lot of your time. I think that's something that we sometimes lose sight of is how important the editing view, the time that you spend editing and things that you can learn from editing and how that can impact your shooting. It's really about becoming a better photographer. And, you know, we have a really big feedback loop with our clients. So I edit Seasons, weddings, you know, there are a few. There are a few. You keep a few here and there, but I edit seasons weddings, and so we have a really open dialogue about things that are going on with her shooting because you know, she's such a busy shooter. And it's not as if I'm telling her things that are like gonna change her life here because obviously, you know, she's pretty amazing. I Marone sometimes. But the main thing is, you know, when she's not editing her photos anymore and she's sending them out to me, she's not having that opportunity anymore to realize simple things. And I think you mentioned in your workshop today something is new is you know, you get a new camera when just a small thing and you go out and you shoot your first couple of weddings with it and then I call you and I say, Yeah, you know, all of a sudden you're your photos air looking like, you know, 2/3 under, exposed 2/ of a stop under and that's that's not like you. You know what's going on. It's true. I did. I got a new camera and just out of the box started using it, hadn't realized that the LCD screen had been turned down, so because I chimp a little bit while I'm shooting, but not a ton. I wasn't really noticing the problem until I have downloaded everything and sent it off to Jen and even things like she could tell. Whatever. I'm trying to cut a corner, just say, you know, the last couple of weddings, you know you've made this She says it really politely, like 90% of the time. But you know, she'll say, you're kind of making the same mistakes over and over and over again. And when you do have someone working on your work that is incredibly good at what they dio, you know, sometimes you think you know, I could put the extra effort in and get it right in camera or I could just I could just let sidecar fix it later and you do that once and maybe it's OK and you do it twice and maybe it's OK. And then all of a sudden it's a habit and you're cutting corners all over the place and fixing it later, and it's that kind of goes against everything that I believe in. So she'll call me be like So Hey, what's up with that? It looks really terrible. You, the very painfully painfully honest and they help me be a better shooter or they'll say something like, You know, we really noticed that lately during your professionals, when you can't shoot, flash your consistently under exposing them or you're consistently over exposing them. Or, you know, are you looking at them closely enough like your shutter speeds a little too slow and I don't think they're quite a sharp is. You think they are things that you wouldn't necessarily notice if you know, if you're not looking at your own work really closely and I call my own work, they get the work after I've called it down. So I have looked at all of my images, just not anywhere near as closely as they're going. Teoh. When they're going through all of them, there's another. There's another concept that we've gone through with a number of clients, including Susan is if you're not looking at your finished work, you may not know what your camera is capable of doing, and you may not be able to trust, you know, pushing the extremes of your Cameron in the example of this is we. We've seen cases where a lot of people would tend to open up the rapture really wind in a low light situation instead of pushing the I s so not realizing that when we actually get the file, we do all the edits. We do the noise reduction, we clean it all up and finish. It looks pretty good. You could have pushed that. I s so much harder than you thought you could have if you didn't see that full process evolve and see the finished photo when it was done. You may not have known at the time that could do it. So having that kind of feedback give someone like her a lot more trust in her equipment. You know what? Push it like Like, really push it hard. You can write because being in a low light situation, you know, dancing on a deck overlooking the water or overlooking nothing. You know, if you're if you're afraid. You know, if you want to get some kind of ambient background, you really gotta push your settings a little bit. And trust me, you don't want to shoot dancing at 18 Please don't do it. If you do it, you can't outsource tiles. We don't want that. You just don't want to do it. So you've got to find other ways. And, you know, sometimes it takes somebody telling you that it's okay to go from 1600 to 3200 for dancing and that those images air still gonna look good. And they're gonna look clean when they come out of the camera by the time we're finished, you know, putting them through the paces, so to speak. And we are. I mean, we're pretty isolated, Like I work by myself. I don't have a staff that I work with. And when I see my own images weekend and week out, over and over and over again, like it's like watching your kids grow right, like they're the size they are. And then all of a sudden, you turn around and you realize that there are a lot bigger, and you kind of missed the period in between. If you're making the same mistakes or you're not realizing kind of the power of what you can do with your camera, all of a sudden you're gonna turn around in The slow mistake you started to make has turned into a big snowball. And I'm not gonna ask my husband like looked through every single wedding that I shoot and give me feedback on it. But, you know, if you are by yourself, it's maybe it's helpful. Toe. Find somebody. If you're not outsourcing toe, look A, you know, share your work back and forth and see areas in which you're improving or areas in which you could improve better. And they, I mean, it's a constant back and forth. Sometimes it's, you know, do you realize that you're choosing the wrong color balance in these situations, or if you are doing X, y and Z, you don't do anything wrong per se, but it could make the editing process even easier. So it helps even if you're not gonna outsource. Maybe again, working with a consultant who can help you see the errors we're making in the ways that you can improve your shooting so that the efficient workflow that they just taught you becomes even more efficient because you can't become a little glazed over about your own work. You know, I encourage people, you know, if you are in a position to do your own editing, I think that's great. And I think you can. You learn so much from it. But sometimes people, you know, we're doing their own editing. But they ask us to look at a wedding twice a year and just give them some feedback. On what? You know what might be wrong, that they could change by changing your shooting, not just changing your editing, because it really is an important thing. And, like, season was saying, The other thing you can do is you know, you can get a photographer, buddy. You know, it doesn't mean you have to go toe like every photographer, meet up group. But if you have, like one friend and you can do that for each other, you know you too can send each other images. I do that with my friend Geoff Mosher, who's an amazing headshot photographer. And when I'm when I'm gonna block a wedding, I sent him my wall damages on Dropbox. He sends me his walk images on Dropbox. We spend the time to help one another and to say, like, Yes, this is really strong. Or like I don't know why you like so much. I guess you can block it. But I wouldn't you know. I mean, I see that much nicer than you say those things. I don't say it that nice to him, either. Yeah, yeah, there's also another. There's another aspect of this twos that way. Get the feedback to you know, we're not just the ones telling everyone how to shoot better. We're constantly getting feedback on the work that we're doing, like, Hey, the last wedding. You know, color temperature was off a little bit, and what's interesting about it is it's like because you're you're participating. That conversation you're now you have a more critical eye of your own work because we do the editing so much, you see the results of it. And then when there's inconsistencies, they just stand out like you could be one of the last weddings that you said to me. It looked a little the family formals of a little over contrast. So I asked, Geno is like, Hey, like, I'm really I'm looking through these files that you just over the family formals Look, it looks like there's a lot of contrast there, and she took the time to explain to me, Listen, this is the file that was sent into me. There was a lot of haze just because of the situation in the time of day and the light bouncing all over. Yeah, And then she talked to me about points of black that she lost me like halfway through. But the point was, she showed me her step between point A to point B, and I was able to understand what she was trying to dio to help the image. It's, you know, it's it's not just them telling me the things that I'm doing wrong. You know, we had a period of time where it was one wedding where the calibration had bumped off on yours a little bit and I said, Hey, like instead of Hey, Susan, all of your images or half a stop under exposed I said, Hey, Jen, the whole wedding that you sent back to me is right. It's kind of bright, like, really bright. It's just it looks fine, and I relooked at my monitor and she relived it hers and had been a calibration consideration, and she never would have known if I hadn't, you know, said something, and vice versa. It's nice to constantly have someone that you can just tell what they're doing wrong and they couldn't tell you the same thing. It's a good feeling, right? And when you're down on, you know, doing editing, it's good to remember that this is all part of the cycle of becoming a better photographer, of seeing your mistakes and then going to the next wedding and remembering what you did wrong trying to make this changes so that the body of work becomes better. It's true. We have other questions about the process doing people on the Internet. They can ask you, I mean the process of us together as a unit. Anything you have, like, how are you also wonderful working together? But we do have a way. Do have a question, a sort of a recap of the day. Um, and they're asking if you can recap the specific folders. The sequence in which there used the file formats and content states pre edit or posted it. The purpose of the smart categories for J pegs and how you think the changes back to your photographer and client That's from Duke and Park City. Thanks. So is that. Does it sound like about Ray? Sure. Okay, so enormous stool. But I feel incredibly incredibly. Just like I am not this tall like a solid foot fire. Just bear that in mind. You only belong on a pedestal here, So I came today. I'm just going to sit and watch because this is I mean, this is brilliant what they've got going on. And you want me to go through the board and run through everything or do you want to just kind of for your final Specifically what? We're stuff. And they actually specifically said versus the board to, like, more specific. You bad? Okay, actually, maybe like going aboard, I'll just I'll just try to get by the enormously policies and stripling. I think we got it. All right, so on our on all of our work stations, the very first thing we actually do is we just set up a space where all of our project work is going to take place. So this is Ah, it's a work drive. It's a possible post processing folder of some kind. That's where the projects get built. So in this case, you know, we we've delineated the shooter of the studio. You know, Susan Stripling, Jennifer Cody or personal work. You know you want to keep your personal work separate from your actual professional work. It's at this location that we actually build our project folder, which is the first step, right? If you're looking at the board Step one, obviously Project folder. And this is where we said everything up and again to recap this is before we do any ingest. This is before we do any calling. This is literally stuff one, like sit down at the computer. This is what you do, right? And we talked to one of our consulting clients and he made a good point, which is true, which is that we technically could do this for all of the wedding's on our schedule. So you could take one day where you weren't very busy right before winning season started. You could make all of these folders right ahead of time if you wanted to do that and get that out of the way because we typically have enough notice that we have most of our dates on our calendar. By a certain point of the year, you could go ahead and create all of those folders. Just get that dawn and not worry about it for the rest of the season. Right? Okay, so now to clarify our folders are sub folders within this project, they're named by the shoot they belong to, and the type of file in them. They're not necessarily named in order of when we use them. So that that could be confusing. But so we'll go through the very, very first folder that we're gonna end up using is this reject raw folder. So this is step to where we are ingesting and colon, right? So this is where you're actually taking your memory cards after your shoot ingesting them. And when photo we use photo mechanic, we recommend vote a mechanic. And when you use photo mechanic, it will ask you Hey, where do you want me to put these? We tell it, Put into the rejects, right? So from reject, what happens is all of our selects that she wants to keep go into master raw here. This is still part of step two from there were using this master raw fold over full size selects and we're creating these proxy D and G's, which is three. That's right. So it's the ring of fire. This is where we create the smaller version of the D. NGS said that you could move more quickly through light room. Exactly. So at the same time we're doing that, we render these proxy D and G's. And even though we're not gonna use them yet, we'll go ahead and work ahead. And make sure we have this stuff ready. Is will make these master D and GS. So this is also three right here. So the next step is we import toe light room, and that is using these proxy D and G's these air going into our light room catalog. Our catalogue is sitting here in this folder of the whole time when we built this folder structure. We have a template catalog. It's a blank, empty catalogue configured How we like it. And it's sitting in this folder also, by the way, has the same name of this project, because in case this catalog it's orphaned or polled or, you know, eyes no longer associated with this structure, we can still find it. So all of these proxy D and G's are going into this catalog. Or rather, the catalog is being pointed to the proxy DMG folder that point we're editing. I mean, that's that's once they're in its Step five. We add it from there after the editor. It's the noise reduction. So like we talked about, we are checking with our smart collections. Were finding out what exactly is ready running the noise reduction on everything that we need. Teoh before we do the export and we're doing that then at the very end, because we want to compensate for the fact that we have made adjustments and we might have added exposure to a photo editor high I eso and you want to account for that to make sure that they look their best, right? So edits air done. Noise reduction is done. And then really, what we're doing is we're doing this this kind of swap, you know, we're exchanging these proxies for the Masters were playing the catalogue at this full size DMG as if that's what it was looking at all along, um, pulled you? Yep. Then at that point, we are at step eight, So we're taking these full size, you know, and we're throwing him out to step eight, which is black and white, right? And like we demonstrated we're gonna use silver effects. Next. Silver effects were going to do that always with the full sized NGS. Like he said, we've already done to swap out and it's gonna put out tiffs essentially for you. It'll create those tips. So at this point, when we're done with all of the black white EDS, this is ready to export the first export that we create from one of the first and only export from light room or a tiffs. It is a master tiff folder. So that holds just the tips from light room. These air full resolution. It's the mix of color, black and white, everything right. And this is the launching point, really, for all future exports. So, you know, if we want to make our full size, J pegs were making them from these tips. If we want to make low resolution J pegs, they're making him from the tips. If we want to make the Facebook J pegs from the test, So all this is this is the point that all this stuff gets created on. Then once we do that, we're all finished and we go to our backup archive right? And that literally means we take this project folder and it goes somewhere else. It goes to another drive. It goes to, you know, if this was our backup or if this was our server, it's getting moved to that location. We have been backing up along. Like we said, we use Kronos Inc to back up our daily work so we don't have to worry about losing work. But the final backup is when we move it on to a long term storage device. And like I mentioned, I like to put my full resolution, jape, exons and folio because it gives me an additional offside back up. Right. So and as additional script step like we said before, we create these X M P's, which can be paired with the raws that we had originally. And really, at that point, what you're left with is honestly, there is a lot of replication and redundancy built into this project, for you've got rahs and ex hippies. You've got two different size of d NGS. You've got tiffs, you've got J pegs. You got a catalogue. It's a lot of data. We're not saying you have to keep all of that forever. This is where you could start to decide. You know what? Over time I don't need to keep every single one of these components bacon strip this project down to just the bare bones pieces that I want to keep and get rid of. The rest were actually working on setting up some kind of a system so that after a certain period of time goes by after delivery to the client, we start stripping away some of these additional, you know, files to save space because we don't necessarily need them anymore. And what you save is really kind of a personal decision on what matters to you. I believe that I just saved the catalogue and the Master de NGS after six months, because when I do my album design because I have the full rez Jake exons an folio. I asked my clients to place those into a collection, and I just download them because it's easier than getting a list of file numbers and going back and finding them. So I don't even feel like I need to save the J pegs at that point because I have the J Pecs Bronson Folio. But I don't have to worry about them. And I have the DNC's in the catalogue. So if I ever wanted to go back, you know, because, you know, I was a famous photographer that shot a Kennedy wedding, and I wanted to full some photo. You know, from years ago, I could always go back, and I could re edit that image as long as I had those two components. Right now we have one other folder that I was gonna mention, which is we have a reports folder. It's just a general notes. So, you know, we use this to kind of keep track of, you know what the project is, what it's called, and then, more importantly, we keep this running total of files that are found from our selects. So that's our project structures. Over time, you can decide what you want to keep what you want to delete. You know what you want to back up Also, guys, that's great about deleting and removing. Um, I don't know if you like, mentioned that at all. Like when you want to remove. If you add, that's when you remove. Basically, is that correct to? We are talking about the whole project as a whole. When you imported your photos, you did it as an ad we didn't add from an external. So then that dialogue would be that you would remove those from light room when you're not. Okay. So that ad from the same location I know I know what she's saying. So in yeah and light room at the beginning. And Step four when we imported that dialogue had a choice for ad. And it meant that we point light room to this to this, in this case, the proxy DMG folder. And we added those photos into that catalog, right? Those will stay in that catalogue forever. We're not gonna change that catalogue ever again, but it's a reference. It's a reference if what we're talking about moving the files, it is. It was referencing them from the folder that we have them in. When we're talking about removing these components were talking about deleting some of these folders out of this project, saying that you know what? I don't need these full size J pegs anymore. Delete it. I don't need my proxy D and G's anymore. Delete them. A catalogue still stays, and it still has the reference of all the photos, the recipes, the adjustments, the edits in the catalog. It's just these other pieces that were going to delete because they take up space, right, because we use a different catalogue for every single project. Once we close that cattle of the light room, it isn't there anymore. You'd have to tell light room to open it again in order for it to see the catalogue and reference the accompanying photos. So So you're rejected photos, get a one says delete from disk. Isn't that a function you'd want to use? Because you never wanna look at those? Because you just know they're bad in Regent's I delete them about. Yeah, this is a This is a question. This has been discussed many times. I delete them typically about six weeks to three months, depending after I deliver the final images of the client. And the reason that I do that is, even though they didn't make the cut every once in a great while, something might happen to a family member of the bride and groom, or there might be something that I had no idea that it was important and it wasn't a good picture, and someone might come back to me and say, I am so sorry, but you happen to have a photo of my great aunt. We don't have any photos of her and she's really ill and we just would really, if there's anything you have, and if I still have the Rejects at that point, I'll go hunting for them. I'll go fishing if it's something like that, but typically about six weeks after I've delivered, maybe as long as three months, If I'm not paying attention and it's wedding season, I will go and just get rid of the rejects because at that point, if there was something really important, they would have asked me for it. You know, I'm not infallible, you know. I'm not available. I may have missed something that they wanted, and I don't mind going back if it's a reasonable request. But if I've delivered the images, six weeks have gone by and they didn't have anything to say to me, then I'm assuming that it that at that point I can let go. I mean, I don't know what your policy is on that keep, um um for honestly, absolutely no reason whatsoever. As I was saying yesterday, I'm a digital order. I have never, ever, ever gone back to rejects longer than six weeks, maybe two months after a wedding. And it's always only been for something like that. Like if I have to go pull a picture of a great aunt and it's kind of out of focus, and I sort of have to crop it, really like work on it really hard in a way that I never would, because it's just not a picture. But if it's meaningful for them all, go grab it. But if they come back, like two years later, they're generally not gonna come back two years later. For something like that, however, part of it is because I am so busy, and by the time I've got my J pegs back from them, I've got my raw files off of my working computer anyhow, So my my raw keepers and my raw rejects are just on external hard drive sources at this time. And to me, hard drive storage is so cheap nowadays, I'd rather just eventually by a new drive and constantly be accessing that drive over and over and over again to delete things. So when they were talking about what they're storing on my computer, what I as a client of theirs and storing on my computer when all is said and done is on Lee the final J bags. And she was talking about how she doesn't even keep J pegs on her computer. And that's absolutely fine. My J pegs Aaron's in Folio also, that's how I get them from them. But I download them and I back them up on my computers also. But as far as they're all files, they're gone. Yeah, to to kind of camps for this. I mean, you could you could keep everything. If you're I mean, I'm kind of a digital order, too. I would keep all these pieces, but you have to remember. I mean, this could easily be to 50 gigs of space when everything is done. You keep all of that stuff for every single season. For every single wedding, you're gonna have some storage issues. If you like buying hard drives and upgrading your storage device, Great. I mean, you'll be like me. You'll have a whole closet full of hard drives right. But for me, you know, we're working on setting up an automatic time that basically starts pulling things once I've delivered to the clients for six weeks later, you know, three months later, and I think nine or 10 months later it's like the only thing that's left is just the DNC's in the catalog. Because at that point we should have everything straight right and honestly is we're talking about raw files. The only time I ever, ever, ever go back to a raw file is if it's something that I'm gonna use for competition. Absolutely. And I've usually three started that a long time ago. You know, we're talking about those handful of images a year that are the images per year. That raw file has already been wrapped up in a blanket and gently copied into my maybe one day. This will be a competition image older, right? Did you ever questions? Yeah, I know. I heard you guys talk about the export function of why you choose not to export with JPEG. Um, I don't know if you have any experience. Or do you guys can you speak to the published function inside of light room that allows you to directly drop into, say, smog mugger Facebook and is the J. Peg action kind of the same thing? I've used the published, I think, for Facebook on Lee. I do find it pretty interesting. I mean, I like it. I think it works, I think for Zin Folio, specifically, the preference has been for the plug in and photo mechanic, Um, because it generates like a report with errors. So tells you because, like occasionally, I'll upload one of her weddings and I'll come back from dinner and I'll see that there's like, four errors. For some reason, something went wrong when I'll grab this files again and re upload them, I like that log. It gives me a sense of what you're asking about. The difference between the JFX right? If it does the same thing where the J P gets too large like, is it on import thing, or does it also apply to the published function? I think any export published is essentially doing an export. It's creating, you know, a flattened image. So just in the same way that when you round trip and create a tiff, it's exactly the same as an export because it's it's creating that additional image. So, yeah, you will notice that if you did a published function into Facebook of photos versus the export to tiff compress with Photoshopped, upload photos to Facebook, they will be different sizes. They could be here. You will be exporting everything. Gloom black watched positive. Then take them in a bridge or whatever other. And then that's how you make your yes, have any Internet questions that we need to. You know, I think this is a great wait Iraq we talked about, you know, the better. Workflow is more time back in your life and then completing the process with a strong backup and archiving function. How important that is, you know, and we're saving people's memories. This is what we've been talking about one of the most amazing days of people's lives, and it's so important. And Susan, if you could just speak one more time on like how this is shit. We're not gonna make you cry, Teoh. But how this is allowed in the service has allowed you to work better as a photographer and deliver better service to your clients and peace of mind. Just I mean, honestly, what these two people have done for me is essentially give me back. What do we figure out 50 business days of my entire year. 59 to 5 days. And it went kind of in in several parts. The first thing they help me do has become more efficient, which started automatically saving me more time. And as I started saving more time, I could spend more time doing things like reaching out to vendors, doing additional things to take care of my clients, you know, spending more time on the customer satisfaction side of being in business. And then when I reached a point where, as we were talking about three other couple of days, you do reach a point where in the time that I get back by outsourcing to them, I can make more money. Then I would if I were editing the files during that time, which is a very personal decision for you. But first I got better than I got Pastor. Improving my post production help me improve my work and then improving my work. Help me improve my post production. And then I reached the point where I said, You know what? I I'm as efficient as I can be and I still need more help. And that's when I opted to let it go, and it was either hire an employee to do it for me. And I didn't have enough work for a full time employee for an entire year because the business is seasonal. And luckily I was able to get in, you know, when they were taking clients and, you know, literally handed them my entire workload for the entire year. And like we're saying, if you work day is back, if not more knowing that we we've been doing this for two years now together knowing that when I get a wedding back from them I mean, I looked through it, but I can look through it, and I know that it's going to be what I want it to be. So I wouldnt I'm not having to check and balance and back and forth and oaken you redo this and Oaken, we re do that. We've got a relationship now, and it's just good every time. And I just want to say, you know, we're not all Susan with 53 weddings a year. But this still work on the individual workflow level is well. But if I didn't have 53 weddings a year, if I had 25 weddings a year, what I would have done would have been my first step, which was to consult with them and then make my studio more efficient. Because if I'm spending 20 hours editing a wedding and a consulting session with them, we're consulting, you know, to speed myself up. If I go from 16 hours to seven hours, Well, I've just made myself, you know, twice as fast. And I were not here saying that everyone needs to find their post production house. You know, they've been just trying to teach you how to become faster and better as a studio on your own. Studios that have somebody in house who edits, I think can benefit from looking really carefully at their workflow. You know, we always do a needs assessment, figuring out what would be the best thing for them and putting that in motion. You know, even if you have somebody who is an employee who's doing this work, then you can free them up to do more work you could take on work from another studio. Or you could, you know, get some other kind of benefit, whether it's networking, whether it's teaching, whatever it might be. Well, and the other thing, too, is, let's say you're going to hire someone to do all of these things. You should know how to do all of these things, too. What happens if the person that you hire suddenly quits on you? But if you have to train somebody else, you know, having just the one person in your studio that does all of those things for you and you can't do them yourself because his education that you need as well I mean, and I will admit, over the two years that I've been having them do my work. Whenever I have to edit a full wedding by myself, I mean, it's like standing in line at the post office like the world just slows down to a glacial pace. Because I'm not, you know, like you run a marathon and then you don't train for six months and you go out and run like it takes me forever to get through these things. And she's edited like six weddings and still on the reception of the one that I'm editing. So, you know, even if you hand this off to somebody else, you still need to be fresh and current with it yourself. I agree. Great.