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Using Everyday Objects in the Home

Let's talk about some of the everyday things that you find around your house um this this was a topic that came up the other day and one of our calls uh because if it really is uh it really is something that you've got to start thinking about uh you can set yourself up for, uh sort of negating problems upfront before they occur. Bye bye. Having certain things in your home available that you can get your hands on and used for different purposes in different reasons uh uh and as I as we as we talk about this, let me let me just show you a few things that we that we sort of set out here um one of the first things and coarse everybody has one of these most of you have one of these these air those little pop up window shades for your car and then if you live in the southwest certainly people in arizona and in hot areas you've all got these and maybe their silver maybe they're wide on one side or black on one side buy them there. Really? This is the most expensive silver reflector you can ge...

t your hands on because this is probably seven dollars how much have to pay for pop ups around silver reflektor that's a photo event you know, you can pull this guy out and and you could have a person standing there in a person staying there just hold it for you just for a couple of seconds bam bam bam bam bam and then put it away and you've got your you got your your silver phil I have a roof I have a love hate relationship with silver uh and I know that as we as we go through all of our tools you know everybody's got a different outlook on how you should spend money and how you should look professional and all that I don't think using one of these would make me look any less professional uh as long as that use it very professionally it's compute a song as I don't look like a goober doing it er long's I look like I know what I'm talking about but I do think that these kind of things are really, really helpful silver and specifically and I I love silver fur somethings I hate silver for most things I don't use silver on a face very much I'll use it as a fill when I'm shooting a kind of a head shot kind of a contemporary look maybe a clamshell glamour lighting kind of a setup I'll use it to fill in from blow because I like the look of that bottom lower catch light in the eyes and I liked I liked the ability to change the shape of that uh by how I shape that silver down below, under the face like we did yesterday around gives you around catch like a rectangle gives the rectangle catch like you can buy these wonderful tools out there. Now that are there, you know, one foot wide by six feet that air long curved the highlighters from westcott, you resigned by larry peters and people like that would that have come up with great answers and solutions to problems that we all face? And I think that's what photographers do often we'll see a product that some photographer had an issue, our problem, and they made a product to fix the problem, and then it took off and sold so that's, how a lot of the products in our industry sort of come from most number designed by photographer, not some, not some engineer or a company guy somewhere that was just trying to come up with something to sell. It was a problem that got solved, but silver I use over a lot, uh, from behind my subjects, mostly in their hair, on cheeks, as an accent, on shoulders, on legs, on hips, all the way down legs. I can pencil a little small, chiseled highlight all the way down a full length fashion shoot if I've got silverback behind, reflecting either the sun or bouncing the strobe into the silver to kick from behind. So all those little moments, those little things were pretty important for me for silver, but I'm kind of careful about putting it on the face to brighten up a face it's a little to speculate for me, it returns light that often I've created that is nice and soft and it makes it condensed to a small area making it shiny er and more contrast, it makes the skin look a little too shiny uh and there are some there's, some people that just there with no makeup or dark complexions where it just shows so much highlight it's just very, very troublesome. So you gotta be a little bit careful about that. Uh, but on that same on that same topic, let me grab this other other tool. Well, of course, here's the, uh, here's the one that's made for that purpose, of course, and this is not something you would normally just have around the house, but some of you this is what the sun shades look like, they're fold in half and so you've got that part of it. One thing I do want to point out that the studio here did that's pretty clever is we live in a world where everything that we have all of our professional tools, almost all of our professional tools are black I don't know why and then we step into a room where we turn off all the lights and then we trip and stumble and fall over everything here is the creative life studio there so it's more look at the bottom of those this light stands they've got they've got day glo for us an orange tape on their life stance so in a dark room you're not going trip and not the light over and break something or hurt somebody um extension cords are always black why are seen cords are always black everything's always black or tether cables or black everything's black uh so we won't see it then we we trip over its that's really special you know uh anyway, uh these were these were great tools to have this other piece here this is this is one of my favorite silver reflectors this one we all know where this came from. This is ah, this is mr home depot our lows or your your favorite er do it yourself home place your your local hardware store it's just a piece of insulation you can cut it any size you want you can buy it any size you want. They also now make this exact same design of silver in a thin quarter inch padded role that's twenty feet long that's that wide twenty four, ninety five I just bought two rolls last week it's a real lightweight role of insulation that's that thick that's that wide and it's that silver. And so you can roll that out and you could tape it along one wall. You could tape it over a piece of foam core, you can do it, you can curve it up under the face. You could do anything you want with it. All of you have a mirror in your home, find one mirror somewhere that's a reasonable size, nothing huge but that's, you know, sixteen, twenty, twenty, twenty four that's framed in this on the wall with a nice edge on it where it's in your hallway or in your bedroom, or somewhere that you could just take off the wall when you're shooting? Because it might be that I need a hair like behind pam's hair and in my little space, I don't have any room for it, but if I could get a mirror back there on the stand with a clamp and I can fire a light into that mirror from over here, it might bounce that light right into her hair, and it gives me one hundred percent of return and that's the great thing about a mirror it's a hundred percent reflective not you, don't lose anything in the turn what you know to me, yeah it's a speculative as it gets speculum, by the way, I keep saying that word a lot haven't defined that today speculate highlight is defined as a highlight, which is a mirrored image of whatever created the highlight on a face the speculum highlight is the best one is in the eye and human I that catch like that's, a speculum highlight, and if you're wearing silver jewelry, there's a speculum highlight where the light hits the flat flat is part of the silver jewelry. Um, highlights interesting thing about highlights highlights can be a real nuisance, and they can also be a design element for your picture, you know? So so they're not always your worst and may sometimes or your best friend, depending on what you're shooting and how you're doing and how you're controlling the light. Uh, but it's all made up of, you know, all the stuff that we're talking about and everything that we talked about yesterday, it's all about the true totality of a subject and control of the highlight and shadow, and of those three that make up the trio that makes up what we call three dimensional contrast of those three you're in charge of two of them, you're in charge of the highlights and shadows completely one hundred percent I'm not in charge of your skin tone, you are I'm not in charge of your skin tone, but I am charge of exposing it properly, but the hollis and shadows I'm one hundred percent responsible for and it means I can make the shadows is dark is on one or a sharp is on one or soft as I want and the highlights his biggest on one earth small as I want, right? So but these kind of speculator uh speculator reflectors really really, really come in handy that is so shiny that if I was doing a full length or a three quarter length of a fashion shoot, I could lay this guy on the ground right there in front of my subject and I could have my model but right there I can see some of my I can see it in my face right there from the overhead led I could hit it with a strobe up there down on her face and have some spill down to hit that as well and light up from below a little bit and fill in the shadows a little bit so they're really, really helpful because they're so so shiny, but you just have to be clever and think this stuff through a little bit, so block off practice time for yu don't always practice on your clients and that was what we were spending a little time yesterday talking about don't don't spend all your time uh practicing on the clients so um let me just grab a couple of things here and bring around on that same topic of the, uh of the great reflector and the ability to greatly reflect I think it's important to have around the house somewhere uh a piece of foam board maybe that's white on one side blacks on the other side these are just little inexpensive little things that you can keep they can store in a closet somewhere um we always need white to reflect light into a darker area and while that's an important thing let's not negate the fact that we also need black to take light away from certain areas um you know, I talk a lot in my workshops about the four uh what I call applications of light being additive transmission or diffusion reflective and so attractive I have to be able to sometimes take light away in order to produce dimension if I have no shadows and I'm shooting a picture for something that requires depth I got finally take light away and often I can't because of the set up but I can block it from reaching something so that that I'll do often so can I borrow you for just a second? You want to come up here for one second miss megan and just let's put you right there? Yes and you have to face the camera somewhere so in this case she's we're in the studio and obviously the studio's lit for me in this area and I'm pretty flat lip so no matter where I look I've got good light on my face but if I needed to bring in and subtract light from one side in order to make this just look straight ahead right there I can use this as a sub tractor of light it's like a portable wall I'm bringing in to keep light from one direction so it gives the appearance of light coming from one direction to the other direction makes sense I've gotta create if I don't have uh forty five degree lighting I can I can almost fake it I can almost make it look like I do have forty five degree lining so by having one area where there's no flight yeah thanks. Ok. Any questions about that? Miss kenna, could you go through those four? I thought that was really insightful. Yes. So so the four things and this is what I teach heavily in my classes additive I call it additive subtracted transmission and reflective in in and the photographic lighting tools we have four basic tools of light and that our speed lights, studio lights, sunlight and ambient light or continuous source lights like we have one here, so so those were the four tools of those four tools we have those four controls additive subtracted ve transmission and diffusion now what's great about that is that you'll always have one of those application uses with one of the other tools. So, like on on a bright, sunny day uh, I might have a diffusion panel in conjunction with the sunlight, so I've got one light source. One application, uh, in the studio, I might have, uh, a diffuser inside in front of a soft box with a studio or I might use, uh, any number of ways of subtracting light in ambient situation. So, like, uh, doorways or great garage doors air great. I often have found that I can take somebody in a doorway and if I am outside the door just a little bit I can bring them forward under the header of a doorway and then and I could just say now slowly walk backwards, back, back, back and what happens is the top of the doorway then becomes the subtract er of light as they back up inside a doorway. This is my light source out here right here under the doorway. My life source starts there and goes all the way to the ground as they back up a step like this. Now, all of a sudden I've lowered my life just a little bit and as I go back another step, I've lowered my light a little bit more and as a back up, another step of lord my life a little bit further and my subtract er than of light gives me great, great, like, quality and great, great like direction, but it's because I had to take light away so I had to subtract light additive light would be when I use a flash outdoors. I've got a given amount of light already out there, but I'm using a flash for a specific reason. So additives attractive transmission reflective those four are there those four? Uh, those four elements are key in my brain, along with speed, like studio light, ambient light and, uh, sunlight. And I've gotta have controls for each of those four things, and I have to understand all the controls of the four controlled tools. What? I'm not trying to confuse anybody, but I'm but I'm a kind of a simpleton, you know, it's like, hey, tony, why would you ever use flash outdoors for one reason only to change the brightness of my background? I want the background to either be brighter than it really is are the same brightness that it really is all I want to be darker than it really is that's it end of discussion, next question. I mean that's the way I have to think because there's just photography so big you guys they're so much that if you get lost in it, you will just pass out and you just you just wither into a little puddle over there somewhere but you have to you have to compartment I just have to compartmentalize everything I do and everything I think now sometimes that makes me less creative than I wish I were I wish I was more creative than I am uh I do okay occasionally, but but but but I certainly from a technical standpoint I won't miss a picture very often because I have everything compartmentalized and I know exactly what I'm talking about and I've got all the right tools for all of those needs and all the necessities that I've come up against so um anyway that's kind of the way I have to think about it but this is a great it's it's a tractor is designed to take light away from wherever it is that I don't need it. So for me that's really important? Um now on this other thing let's talk about this for just a second this this gray matte board, which we'll see later we'll see it I'm sorry thiss great matte board will see this tomorrow uh as a tabletop surface for some products that we shot this is a really great surface because it's it has a little bit of a tooth to it. So it's got a little bit of a texture. Very, very fine texture. It's also fairly matte surface. But if the light is directly on a perfect angle ah, really strong access to a light source, it could be a pretty reflective surface, so I can vary its density a little bit based on how much light I put on it. And from what direction does that make sense? So, like, if, like, if if it's on the table here and I'm lighting from behind down at the forty five it's going to come right in the angle of my lens, remember, the old rule of angle of incidence equals the angle of reflective, right? So that all kind of computes out pretty well. So it works really well, so I can control its brightness by doing that now, there's another use for it, that's something we haven't talked about much, and you've probably not hurting by do this before. And that is the notion of using, uh, let me backup let me before I say this, I got I gotta preface it by telling this other part. The other part is that the size of any light source is relative to its distance to the subject. I talked about this yesterday, but I haven't talked about it today in this segment in this in this one show, we haven't discussed it, and I have to make sure we talk about it size of any given light sources directly relative to its distance to a subject. So as I bacchus light source further away from my subject, it becomes smaller as I become smaller, three things change, the edge of the shadow becomes sharper, the size of the highlight becomes smaller and the brightness of the highlight becomes brighter. Those three absolutes, those air physics that I can't change as I move a light further away from a subject that highlight becomes smaller and brighter and the shadow becomes sharper. Okay, everybody with me so far, okay, this's yes, this isn't okay. So having said that if I bring in let's say, I'm photograph in fujiko and I've got this reflector and I'm bringing this reflector right there and then reflector is this you know it's around twenty two, twenty four, twenty four inch forty two inch whatever it is and I bring it in it's a reflector right there and it's right next your face and it's great except that it's two flat on your face I need I need to move the reflector back because it's too bright my written by my contrast range would be a one to two let's say let's say that only a difference of one stop between the highlight in the shadow so I need to back this up a bit so human nature says, well, just back up the reflector okay now have backed up the reflector, but I also changed the size of the reflector and so the highlight that the reflector might create has changed all the properties of the reflector. Now I'm telling you this because this is this is something that none of you that's listening to this you are watching are going to do, but just don't you just listen to this and think through this this is compliments of a fashion guy in new york it's a brilliant, brilliant star for named douglas do blur check him out this guy's smoking hot fashion guy and has been for a lot of years I saw him do a fashion shoot and I've never seen this before and I sat there in one here's what he did instead of using white as a reflector he swapped it out for gray by swapping it out for grey he didn't have to back the reflector up to change its brightness level he left it gray so he could keep it in close it lowered the value of the reflector without changing the properties of the size the reflector and I sat right there, and I thought, this guy is the smartest photographer I've ever seen, and I've never seen anybody the planet do this, and I had never thought of it before. You can bet now I have great reflectors all around me as a result of that, that was a really good lesson for me, you know? You get to thinking you're kind of smarty pants every once in a while, you're not so big, I can't learn anything new. Oh, you wanna bet this photography is huge? You can't know the salt it's overwhelmingly huge and that's why I have to break everything down to a smaller sort of common denominator think ok, does this make sense? I think one of the other things that, uh, that you will do as you walk around. Of course you're going to have props in your in your studio space around your home. You've got flowers you should have. I was I would recommend you have about three or four different tone analyses of flower arrangements in case there is a session where you want to do, where you want to introduce a flower arrangement, the background on the table or whatever, or if you want to shoot in someone's home, of course it's good to take with you. Of a variety of things that you can keep in your car that you take on location because that that is always going to be an option, too. If you're not working in your home, you might be working in someone else's home, so make sure that you're prepared and maybe even gone ahead and scouted the location. Um, but around the house, there's a lot of a lot of tools like that. Um, shower curtains are hugely important, and john and I were talking about that a couple of days ago. He brought in. He brought in this shark curtains and what's great about this is, uh, it's not a shiny, shiny plastic share a curtain, but it is a white translucent shower curtain that when you stretch this baby out and clamp it on a couple of life stands, you ca fire light through it, and I can make myself a six foot, almost six foot by six foot soft box without having to buy one. I bought this and, you know, bed, bath and beyond instead of photos are us, you know, so so so you do have to just think in terms of again, like I said, you know, fifteen minutes ago find a way to be clever, you have to be clever and think all this stuff through uh these are the kinds of things that if you do this you'll really see a difference and I think your client will see that you've worked hard nobody looks at distances oh it's a shark it's just a this's a this is a light producing tool this's a transmission it's a transmission tool of light it transmits light through it but it's white and that's the good news now some of some people like a warmer light source um what I used to do and I learned this from a guy that teaches lighting down in santa barbara brooks institute gatting paul meyer paul I think is one of the sharpest instructors in the planet and he's just very, very smart. He was a great stock photographer uh paul would go by twin sheet twin size bed sheets not white but he would buy peach because peaches about the same tone out is the palm of your hand which gives just a little bit of warmth to his photographs so he's outside on location he would pull out the peach colored sheet toe light and fill in reflectors and oh my gosh it's just like what a clever guy. Now all of you are sitting at home saying are sitting in this room saying yeah, but I can adjust it with my color balance and postproduction yes you can you will miss dinner again with your family I'm just saying anything at all that I can do at the time of capture to make this picture better that's what I'm going to do now everybody has a different opinion about that I don't have the time I just don't have the time toe spend fixing and changing altering things I want I want to enhance things in post production make things look a little better but I don't wanna fix or change anything too much so I really do spend the extra time like I told somebody it's like if it takes me extra thirty seconds on set it's saved me thirty minutes and post that's kind of ratio to me it seems like because once you open a file you know is doug box says yeah, you can fix it with one click but you won't because once you open it you're there for forty five minutes and you know yourself well enough to know that's what you do how many of you have worked in photo shop in the last two weeks till midnight one two, three, four anybody else for four of the six yeah and out there they're all going wait do that's what we do sorry I knew better uh okay, so then other back here also we have, uh this is just another white sheet, just some bed sheets, just a twin size sheet and you'll see us use this uh on a situation that we shot that will show tomorrow in the videotapes segments where we use this as a big soft reflector in the home opposite a window and it just worked beautifully they worked beautifully it was it was a saving it was a saving grace for a photograph of a girl with very large lenses and her glasses that I could not bring your head to the light source but I could bring her head a little bit away and I could fill in the whole thing with this big white thing and it worked so beautifully and you'll see the before and after us and how we did it so he just works so be clever go shopping go to the dollar store go to those those inexpensive you know go to the world markets the war markets are great for shopping oh my gosh they have so many things that you have to have and spend fifteen dollars and you'll have two baskets of things when you leave but go shop and and go shopping thinking in terms of outfitting your home studio with little clever things that you need uh if you want to uh use uh something other than the big silver uh insulation uh another kind of clever thing that you have and you all have in your kitchen is aluminum foil go get aluminum foil uh some people buy it in bulk in big sizes, here is a a thousand foot roll twelve twelve inches by a thousand feet and of course aluminum foil is dull shiny on one side and gloss shiny on the other side and the good news about it is it's reusable if you crank crinkle it up, you can certainly always flatten it out and use it again it's not going to disintegrate so aluminum foil is another one that's really, really a big important part ofwhat we do, you know, no question I discovered on accident something very obvious about aluminum foil, which is that it also really effectively blocks light. You can totally subtract light with it because it doesn't come from it's completely opaque and a lot of people will have in their home studios they'll take a window and they'll completely cover a window with aluminum foil and if it's on the side wall in your studio great now you have a built in reflector now you can wink a little bit of light in there to fill in the shadow if you need to. So all of those kind of thinking in those kind of thoughts are really, really clever and real important. One thing that it's hard to buy in a regular store but you can buy and photo stores is you can get a product that is a black matte surface aluminum it's very, very thick there's several different brands the one that I used most often is called black wrap but it's just a roll of aluminum foil that's thick aluminum foil but it's flat black and it works great for wrapping around especially around life and you can move it and reposition it and like I can create a little cone of letter a column of light coming off of a source and the good news about those things is they will last forever they don't melt, they don't tear you can't you can't they're indestructible at the end of your shoot you just told him down flat flat, flat, flat flat keep folding keep folding now you've got a little power to that big and you can slip inside an envelope in your fall cabinet of, you know, black accessories, but but seriously there's a lot of things like that that are real clever ah lot of matt board just goto just get a little pieces of matt board that air black on one side like like destiny black on one side and white on the other side just get eleven by fourteen pieces that and it's great if you've got somebody you know in a studio sitting where they are leaning on a table like this and you get your light right, they're coming down if if you're surface isn't gonna be too much in the picture just take a white piece of matt board and just lay it on the table and it's just enough to open up the eyes a little bit and none of the nose this little bit. It doesn't take a lot to do this, so you just need a little bit of help sometimes, but there's a lot of that kind of stuff out there's a lot of great great tips, a lot of great tools around the house looking your cabinets, you'll find things that you'll use pieces of tupperware that you can use to fire light through tupperware plastic lids if they're white nor translucent. Uh, send light through those things, so think about all that thinking about the stuff that you've got think about what you wear and how sometimes what you wear might contaminate a shadow of a picture if you're not careful if especially if you're working with small products. I know a lot of photographers that shoot jewelry that insist everybody on the set. We're black and black and black, nothing but black, and there can't be any reflection from you. Uh, I know that we did it. We did a major car shoot one year, and we had a reflection that we couldn't figure out what it wass on the hood of the car right around the corner, the edge of the hood of the car it was just a small white highlights, a speculum highlight that we couldn't hear what it was because we lit this thing with a big sheet kind of like that twin size she just a big sheet. We lived through it, we couldn't chase down this highlight, we couldn't figure out what this highlight wasn't was making us all crazy. We finally figured out it was a reflection of a white star from coffee cup on the set, so all of that stuff matters, and if you can fix it when you shoot it, you don't have to try to clone out later, so just think in terms of being clever and and use your head, okay, now the other one of the other things that I want to mention and most of you have these and we'll talk about this in our next segment coming up, uh, most of you have speed lights already, and you've got you've got whatever brand lights that you're using, you probably already have the speed lights toe match that, um, I mean, I'm shooting cannons for my for my camera and, uh, and I'm using the six hundred units most people's aren't as ugly as mine because I've had so much tape and things all around these and keep using goo gone and trying to get off these air only a couple years old but they look pretty bad but they should work awfully good um so these are the six hundred units and what's great about them is that, uh they've been designed with a radio built in so the radio when you link together with the transmitter um you really do have the capability of pulling off some pretty good pictures without a lot of effort in other words they met they marry up, they talk to each other and they talk to the camera and it all works out pretty well together so uh I think this is we're going to talk about these in our next session we're going to use these in the small studio to start us off with and then we'll bring in some other lighting products but this works pretty well and it's something to really, really get you get you started with uh I just think the radio is clever because a radio gives me the ability to even have a light outside if I need a light outside to come through a window somewhere, I can't do that with an infrared set up because it can't see through walls were the radio can see through walls did you have a question about okay it's okay, you can ask, go ahead and grab a mic there had to put my coffee down first um how do you want to talk for a second about thoughts on third party flashes? I know a lot of people have started using third party like the young male flashes and things like that and had success with um you've got your cannons is there how do you feel about the idea of third party flashes? Is that something that you encourage discourage? Um we'll have a pretty strong opinion about it and I don't know if anybody wants to hear it but uh for me I always thought that if you use a manufacturer's product with the manufacturers product that's designed to work with that manufactures party will almost always be better off and the reason I say that is because I know that uh money's ice used to shoot with quantum q flash lights and with cornel turbo batteries and they were the best combination ever and then I used the turbo combination about the battery for untold speed like that I had and I found that I was having trouble with my speed light and basically what I was doing is they're voltage didn't match and I was burning out my speed light I it's all been since taking care of and it's all been made much, much, much better now, obviously but I figured out that for me personally the engineering team that works on that camera talks to the engineering team that works on that light and those guys have optimized everything toe work together they haven't adapted something to make it sort of fit they've just worked together to build it to fit and talk to each other so for me it just makes a lot of sense it costs a little bit more uh but I don't have to buy twenty um I don't only have three so let's not I don't go to nuts with it um I think that's part of part of my thinking with a lot of the photo tools you know most of it's like lenses you don't have to buy twenty get three good ones and spend the money to get the good ones uh spend the money to get the right tripod my tripods a pretty costly tripod but it's a great tripod and it's the last one I'm gonna have to buy it will last the rest of my career so it doesn't matter if it cost another hundred right? So that's the way I have to think about it in terms of equipment uh but matching that up with the manufacturer I think is is kind of a sensible thing I think uh not to put down anybody's product I don't ever mean to do that everybody has a right to exist all the products have a right to exist and I've seen great pictures from some of those third party products uh but for me I want something to talk to each other like it's supposed to and with ease when I turn this on you see the little links the little link button arthur's rid when I turn on my transmitter which sits on my camera now these guys just turned to green now these two are talking to each other so when this is on my camera whatever I tell it to do this one's going ok I'm following you buddy pam bam bam and just does it from power in up to parent down to shooting e t t l to shooting manual eighth power whatever it is they're now talking to each other I kind of like that and it's all built in and talks to the cameras well, so for me it just kind of works, okay? Uh uh I will say that you also all have a need for all these little widget and wedge it you've gotta have you gotta have a bag a little did he bag of goodies of just stuff of small miniature little grip things uh, these air umbrella adapters for the speed lights. So this one is pretty heavy duty and what I like about this one is this one is made in such a way that I can turn it on its side so I've got the base of it phil I understand this way or this way and then it's also got the pivot on in the center and I can also swap this out because I've got it mounted with with one of the studs from the three instead so I can take that pop that out and put that into another stand or whatever so this is a pretty convertible little gadget that works pretty well then then and also there's always a hole for the umbrella mt so if I want a bath um umbrella into the bath light into an umbrella which will you show this in a little bit uh and then of course then there's one that's a lot less expensive and it's just got one little pivot point and it's just got one little screw for the umbrella one for the life stand and the mountain goes there so this thing's range in price from pretty inexpensive toe crazy expensive there's also amounts now then you've all seen these in their own all over the market you can get very elaborate mouth now that will allow you to have one too three and four speed lights all on one mt so that from one light position maybe even inside that one soft box you've just doubled quadrupled your output ability so if you need that extra of juice output you can get that now pretty easily um I know a couple of sports guys that love that stuff uh, there's there's. Some guys that are really good with using multiple multiple flashes. Dave black is one from colorado springs day. Black is a sports guy that shot numerous, numerous, numerous, uh, jobs for sports illustrated for many, many, many years and shot twelve or fourteen olympics. I mean, the guy's, just prolific shooter. And he took, uh, four of these and shot surfers in san diego from appear, and he was probably a hundred feet from the surfers, and he had these guys at all. I'm going at high, full output, and he bumped his eyes so up, and he was basically silhouette ing and isolating that surfer from a hundred feet away and getting great exposures on their face. Nobody ever gets good surfer shots on their face because you don't want you can't get there in light, and he was lying from appear with for these inside a box. Ah, light. Where box so called the four square.