Lessons

Lesson Info

Manual Metering and Bounce Flash

All right, so we talked a little bit about teo on camera tl, and now we're going to kind of reverse it, and we're going to kind of go back and we're gonna talk about manual and how changes or how it differs from tt l then we're going to talk about the pros and cons of both, and then we're gonna have some examples of how we use it and some other stuff. So you with me? All right? So how many people here? And I never I should already ask how many people have used teal in their flash before? Wow, all you that's also. Now how many people like tio, uh, that's that's, good normally have about two people to raise their hands so that's good manual goes back to even though the inexpensive flashes that we had that we talked about, the some packs and the vivid tars and that stuff you could do manual. I highly suggest you always have atleast one manual flash around in your in your camera back, or at least in your studio, in your house or something because it is important there's so much that goes o...

n between the cannon and nikon stuff that if lots of little things can go wrong they could fail or something and having that manual flash is kind of that insurance policy it's always going to be there for you and when you need it and again for less than one hundred fifty dollars generally you can have one they're very effective but let's talk about how it works the first thing is power with t t l was that f stop in a sense of one thirds it would be one two three or negative one two three with manual you actually have fractions and I know a lot of people hate fractions or hate math but it's it's in a sense where each fraction adjust the powers and you can't adjust and one third stops on the cannon so that's kind of what this is it's negative a third stop and you're going to have everything from one over one is full power and it drops all the way down to one slash one twenty eight is the weakest power and any where in between you can adjust so remember a fraction one over one is a full number that's the most power that's that's one so that's full power whereas you drop one half will be half the power of one over one and it just slowly drops from there one eighth one sixty one sixteenth one sixty four and keeps going all the way down a one one twenty eight that makes sense, so the bigger the number on the bottom, the weaker the power of your flash and I think that's the hardest thing for a lot of new photographers to realize and course, she always tells your algebra teacher, you're never going to use math in your real world, and you do have to unfortunately, and this is a small part of it. But the neat thing about manual or the nice thing is there's no guestimation, innocence, whatever you set your flash to fire at, it will fire it. So if you want that flash to be at half power, it'll be there one of the great things if he used manual, I highly suggest giving you light meter. Um, I know this is kind of old school technology or old school teachings, but I still strongly believe in it, especially we don't know because the one thing it's nice that you can so called champ look on the back of your camera when you take photos, but I don't want to keep shooting looking, shooting, looking, shooting, looking when your manual tl in a sense helps you with this and manual, it doesn't so you can get and you can get it inexpensive light meter this is the nice iconic, which is nice, and it's got the new radio popper module in it so I can trigger my radio poppers with it which has not been able to do before but what you basically we do as you'd have your flash that you'd have a ready papa on it we'll talk about it and you can just trigger it and it would actually give you what light is goingto expose on your subject it tells you the f stop you set your shutter speed on here it will tell you the f stop so that you can actually set that on your camera and you'll get proper exposure. So there's really no guestimation if it's not what you want, you adjust the power to get what you want. So if I wanted f five six of light so I can have five six in my image and that's what I want to fall on her, you would adjust your power to the light meter says five six so it's a very simple tool tohave with manual now ofcourse, with digital you can shoot and look and shooting looking shoot look, I try to get away from that again. As I said, I really I think part of being a professional is making a better image. My goal is every time I click the shutter it's a usable sellable image just like film, I try to get away from photographing a thousand images and only giving on two hundred and that's eight hundred wasted not always at eight hundred wasted when I photograph but that's eight hundred wasted that I have to go through in process and that's a lot of money because time is money you're sitting there and if you don't have a business you're still away from your family, your away from whatever you want to do watching you know the big bang theory or watching football or whatever you want to do in your life you're away from doing that and it's kind of on the sales concept that I try to teach people when they're selling their their photography if you're selling your product to low if you're spending way too much time behind the camera and behind the computer, you're basically taking away from your family and I'm a strong believer that my client's why love them is not as important as my family and that's why I say I raised my prices because by someone coming to me saying while you you're just too expensive can you lower your prices by me saying yes that's saying they're more important than my family and I want to be able to spend more time with them than in front of computer and that's the way I try to only when I think in my head I try to only shoot what I'm going to give course that's not the final goal I still haven't gotten there but it's still a lot better once I started that process when digital first came out it just sort of taken off like crazy it was man you was just shooting everything and then because the freedom and then I realized that I was spending hours upon hours instead of just sending the film to the lab now spending hours behind a computer and it really took a lot more post work started slowing it down so anyway on manual you adjust there and you go from there here's some of the powers against we talked about so it one, two one one, two, two, one, two, four one, eight one sixteen thirty to sixty four so on and so the highest is full power. The lowest is weak. It works the exact same ways tl when it comes to power, you just adjust you turn the knob just like we do on the flashes if you have the eight hundred or six hundred it's just a button up or down very simplistic and it allows you to control the amount of power that you need so can use high speed sync flash in manual mode. No, you cannot use high speed sync on your flash in manual mode and why way answered it before? But I wanna make sure we're clear there's nothing to meet her right that tl needs to do that meeting and needs to have the exposure and it's going to allow you to get well you're flashing speed the technology will not allow you to do in a manual mode you put it in manual mode if you get above your flashing speed that flash will simply not show up for you you have problems you can do it you can set your settings but it won't won't function so remember that that's a function of tio we have a question yes yeah I have a question so if you set your let's say you're in aperture priority air a v mode arabia and you set that and you're in you can use high speed sync well can t deal in teo well the camera give you the fastest shutter speed possible like bullet yes if you're in a gravy mode that's the beauty of that concept is I want to control my depth of field that's from my artist standpoint that is what I value is the most important part of the image that I want to capture so I'm going to set my f stop tau whatever depth the field I want most likely a shallower depth of field meaning a lower f stop number two point eight three point two if you have a prime all the way down to one point two whatever and then your camera will automatically set the shutter speed for proper exposure and now that proper exposure depends on what you have said in your camera in my exposure compensation meat of the one it's in my camera right in the middle is even exposure for kanan if I underexposed it'll go to the left for night kind of under exposed to go to the right so if I'm one stop on and that's kind of what we talked about right before break you had flash your taste just like your food if I want a little bit of flash look, I would only under expose a little bit and it'll just a shutter speed for me properly if I want a lot of flash look I'll under expose a lot and my shutter speed will actually be faster because it's taken out more light but the reality is I don't care what my shutter speed number is only care how many stops of under exposed I am so again less math easier to work with my clients all right, so how can you overcome bright daylight without getting above your flashing speed? And that is great writing I love when I find typos when I'm when I'm presenting neutral density filter so since you can't use high speed sync and t t l I mean in manual mode you can use an intra neutral density filter and basically what a neutral density filter is basic takes out light and so this is what we've got you city for years before we had high speed sync technology and so but what's nice about neutral density filters if you want to blend in strobes, giggling bees photogenic the bigger lights, which we're gonna have later on with speed lights in manual mode, you could put a neutral density filter on your camera and be able to take out light and shooting a water f stop so you can actually shoot now at the two h the three twos the four five because it's taking out that light, I particularly don't like doing this because I don't like any filters on my camera, lindsey is, I don't have any if you look at any of my cameras, I have no filters on them. I used the lens hood is my is my cover and I've done it for years because when I started shooting weddings and I'd have a uv filter on it and I take a photo with the candles, I get ghost full flares and my image isn't really your type because there's a little bit of space which when your filter in your lands and then on top of that, I buy eleven twelve two thousand dollar linz and by seventy dollar piece of glass to put in front of it on a really fine detail it really makes an image less quality and so I don't like putting lives filters in front my lands so if I have to, I have a set of neutral density and I have it with me, but I prefer to use high speed sync in teal if I get in a position because I can blend and we're going to show you before the day's up arming up for the day before the class is over how you can blink blin manual anti teal together in the same image. So we're going to get to that too, in the details stuff, but if I'm all manual, I need to take out like I definitely used a neutral into filter from tt l I'll just use high speed stick, same basic results, two different ways of doing it remember I talked about you, khun, we're going to get the same way we're gonna get to the same path are the same area, the same finish line with just taking different pass. But does this make sense and the neutral density filters will have steps so you actually can have a neutral entity that you khun stack on top of each other? The more you stack, you'll take it away very much like cones or anything else jails you can add more different colors, it's the same, the more you add. Darker on the more light it takes out the stops of life and usually take out four five stops alive if you really wanted to, which is a lot I mean that's a lot outside so if you're shooting ed f eleven you can drop it down to five six if you needed to and you get that little more shallow depth of field and the look that you want the problem with that is when the sun gets a clown in front of it now you sometimes might not have enough light and you're unscrewing the filter to allow more light in so that was another thing I didn't like about being in a mobile situation of a wedding where light is very changing that's where tt l really has shines if I'm inside in a controlled environment like we shot earlier with dragging the shutter experiment my life's not gonna change that's emanuel setting okay dreck flash versus bounce slash classic horrible photo what calls his red eye reflectively right now very good reflection of your retina and what causes the reflection direct flash that's the main reason I don't want direct flash in anything is because well want you know we did it in the in the in the dragon the shutter that's a little experimental you could still get it off, but I don't like direct flash that's why a lot of photographers have their little, um they're little l brackets that can put the flash up on top because it's still direct flash but it's not direct flash in the same parallel the same plane as your retina so you won't get the red eye that's why off camera lighting this so so important to get that or if you can't get it off, which we're going to talk about because getting off cameras the next step. So up to this point we have bounce, we do a lot of bounce flashing not necessarily for the red eye because that does help I used to have brackets and everything else and I don't use those anymore I have some great brackets but they all collecting dust eye instead of using a bracket cause again and getting older and I don't like karen that bracket in my hand for a whole wedding day and I get tired of my group gets tired because it's heavier weight I really got better at bouncing light and so I found that bouncing light will kind of overcome me having the direct flash but then it takes more creativity so we have to figure out what we're going to bounce off and so we kind of want to show some examples of direct flash versus bounce flash we'll bring out just aboard right now just to kind of show you it's not gonna anything special because this class guys again is not about creating a masterpiece image my goal in this class is to teach you that's fine right there sweet thankyou my goal is to teach you how to use these techniques and I'll let you be the artist and figure out how you want to do it so this is going back to settle things one this is going to be like your fish aquarium you shoot fish in an aquarium you don't use direct flash when he's angle flash which I have example coming up but here I guess I need a flash on my camera first to boy and really professional today remember seat that properly so direct flash you khun b a professional photographer with direct flash you just need to know how to control it however I found bouncing the flash is much more efficient for me and my style because it softens alight I can get angled lighting I can get a little ratio light to dark and dark to light on their face instead of the direct flash so with that said it's very simple this will really if I shoot directly into this, you're going to see it's up top because my flashes up top you're going to see a nice reflection so if this is the person in their faces here, you're going to see that remember what I said earlier the brightest thing in the image your eyes going to go to so this is just just pretend this was just the solid board there's something else you're not going to see the person here you're going to go right to that and then slowly fade down to them you have lost as a photographer at that point that that image is a failure in my opinion because my vision is not what it needs to be it as a viewer the image just like the eyes that I talked about earlier I'm looking at that so by simply bouncing the light off this turning the life if I wanted to to an angle and you're still going to see some of it like this but bounce in it you'll see it dark you'll see it light but there won't be any reflection and I'm really close as I back up if I backed up and did that more it'll spread it even more you could tell the flash is really working hard cause my batters are getting low that's what you want to do I know it's not a great example but that's what I want you to do I want you to bounce now macy can you come out here please? So I want you to just stand right in front of the board and be the great model that you are a little bit forward perfect it's this exactly what I was saying and my flash is a little low or jesus was my bounce sorry, I feel like a drunk driver and bounce a lot into her very simple you have that nice ratio across her face that's flash on camera not given you see the shadow because she is on the background everything else again I'm not trying to make a masterpiece here but I wanted to share the point from direct flash here it's nice bounces it softens it so it's a diffuser in itself and it works well now think about this from a point of view when you're working there's white walls all over the place you could bounce stuff off I've bounce stuff off when I'm in a church I've opened up a hymn book and opened it up and bounce the light off of a hymn book I carry eight by eleven notepaper and I hold that up and use it as a bounce all the time all the time piece of rolled up poster board all the time is about just what I just did right here I do that all the time in our weddings if the room has white walls, I shoot off the white if the rooms have pink walls, you don't want to shoot into it because you're gonna get a pink cast whatever call your bouncing off of on your subject but this is how I shoot all the time now you need to be careful you can also bounce like this and that's what this is called this is for this bounce card, but I'm gonna do direct flash and I'll show you the result of that. It gets really, really dark and this is really full power and so it doesn't reach out that far, so I would have to lower my exposure, which I can and it's still a little dark and I want you to show here you're getting a hot spot up here and it kind of falls off a really fast so you're gonna have that problem when you use these bounce cards, so I prefer to either use a diffuser which we're going to talk about tomorrow in detail, lots and lots of diffusers or doing exactly what I like bouncing that light and coming in from one side now if I had another one of these lights come right there, right there perfect what abounds here, my coffee cup in the background and that's way too much like because I forgot to lower it from the last shot like an idiot. So when you do this it's a little, I need to move back and we can't do it because the star star star star kat you want to see you still get direction, but if you had this back here another, you could actually bounce it back and it would look like two different lights all coming from one flash that's none of its direction so when I'm doing a wedding I will put my bride in a corner like that all the time and bounce light all the way around her with one light on camera because it's easier for me to put out some off camera lines but let's have it have it this is all I had the bride called me away I was shooting lights and they're over there or I'm just starting out in life photography this is all I got this is how you can make creative light in a small corner and bounce light around and make creative easy simple looks very very simple you feel yes sir why are you having there just because I am still in control the first one I had a really, really high because I was farther back and so I turned it up so it bounced father and now she's a lot closer but so I still had it high so that meeting it didn't need as much light but again I still had the adjustment plus two from the previous shot so I didn't adjust it that's why I always say start off zero because that's technically what the tt l thinks it's possible that makes sense now here's the deal if I wanted to go manual I just hit the mode button popped my camera from tt l to manual and now I'm in manual mode, so I don't have to do anything but then after drop below my sink speed to go into manual mode and you're fine and so now I'm at manual it one to one and so I didn't like tlc and now I'm gonna try manual move back for he could see I forgot he's rude and so now the manual that's way too low way too low that's what I don't like so now what I would need to do is come up with a light meter meter her find out and then adjust my power that's why I like tio because I could be here and I could go straight outside or I could go straight under a spotlight whatever tt lt's gonna keep up with me but if I'm in a controlled environment like a dance hall first dance low light, dark after the sunset that's when I go pure manual light's not going to change it's not going to change your actually only like that's going to change is me hitting my subject and I can adjust that from here manual or teo makes sense that's a horrible photo I'm sorry, okay, when you bounce, you could put lots of jails, lots of other things on their to bounce light around two we're going to get more into that, but you could get really technical in the bounce aspect if you really wanted to and I don't know how technical our guys are today, but you can put anywhere from neutral density filter jails, which will take out the flash on the light of your flash, which is nice you can put color changing jails if you have she's actually got great skin tone, but sometimes someone with dark hair has really, really white white skin you could maybe put a jail on the warm her skin up, which is exactly what the guys here creative live do with these lights to make me look like I'm not dead or have hepatitis, it works the same way and so you could put lots of jails or you can bounce off the wall to make the jail that's. Why lots of times photographers when they make the studio, they want a neutral color in their studio shooting day because they don't want this weird color to come onto them, so we actually have a flesh tone and are shooting day it's not a great cause there's people in seattle my walls were grad get moody all the time I wanted to have a little more bright, but we did a flesh tone color in our studio, so when the lights it did bounce around, it was more of a neutral color. Pair to a white which will throw your lights off repaired to a black which would throw your lights off? Do we have a question? We do a couple questions from the internet coma would like to know if you can go into details about bouncing into paper at weddings to someone else hold it for you or do how do you negotiate that? It really depends sometimes I have an assistant most of time I don't usually I have there's a tape it's a three on product it's it's model eighty nine seventy nine you can also get it home depot, lowe's and stuff, but it's a it's a duct tape form of a duct tape mint leaves no residue for six months and so it's really strong it's waterproof and uv resistant so if I get stuck out in the rain, I can literally tape up my camera, my lens to protect protected if I'm stuck out in the rain but I literally will put that tape on on the paper and stick it up all over the place. I've even taped wedding dresses of tape, everything, the windows and everything else and it all comes off without any problems not saying to do that, but it's a very effective it is cheaper than gaffer's tape and so we're gaffer's tape for me I live in a very humid area gaffer state loses is ahi sadness in a very human area this doesn't and again it's waterproof and uv resistant so it's an it there's not the model eighty nine seventy nine at some of the hardware stores but there's usually a form of it that has it says no residue and so you could buy that and it comes in all different colors that's usually how awesome yeah, well anouk from dubai is actually asking when we set I s oto auto we'll teach you all flash I see so we'll set to four hundred but no lower than that. Why is this a standard for canon cameras? I also four hundred goes back to the day two hundred, four hundred we just standardized does it, allows a little light it doesn't allow too much lighting bright areas but allows a little light and dark areas it's kind of a happy medium across the board you're not gonna have too many too much s a noise which four hundred these days you're not going to but in the old days two and four hundred where your standard eso film ratings when you had film canisters because you got about four hundred, it got too grainy, but that was a great the great balance so that's that's still words from it's kind of like a lot of lab still column billfolds when their wallets and no one calls billfolds anymore it's just one of those things that kind of held on into photography and stayed with it and it's actually good practice I think a lot of people want to stay at fifty or a hundred so lots of times and outside you could get away with that but inside you really need to kind of raise it up to get a little more so and so for hundred is kind of a nice range across the board and you won't have to worry about anymore. So as I was saying shooting into a film mean to ah fishing tank when I was a kid I know this sounds so stupid, but when I was a kid I got taken to the aquarium in galveston, texas I love photography and had little camera and I took photos all day long like this corset was filmed so I didn't have a clue but it ticked me off enough to try to figure out why it happened like this, but I didn't have a clue look there's a fish I'm taking it is just a point shoot and so you it frustrated me and that's when I started to learn how to bounce so the next time I went back here is this like a ten year old kid with my mom's thirty five millimeter little point and shoot and I'm actually using a card and I'm bouncing the light off the card and going into it and use it angles and you get great shots I mean it's nothing fixed spectacular but it's the same thing through an aquarium and that's what you need to think about the other way that I think about when I bounced light is a game of table pool where when you walk around you have to look at all the angles if you're watching someone play a game of table full and that's the way we bounce light because light doesn't bend it just travels in a straight line and bounces so you need to think about where you khun bounce that light before you photograph that image and to me always tied into a game of table pool because I visualize it very much like hitting the cue ball on the angles trying to get into one of the pockets I know that sounds maybe a little stupid but that's just the way that I I've tied it all together big difference one in one of the other it's a big difference and it's so so simple to do you don't have to do a lot again that's where remember we talked about the little angled thing comes from that most of us have never even looked at and that's where it comes from because when you angle and you have just a little bit will make a huge difference in your images so you really want to pay attention to tow what millimetre rhett and they kind of click so you actually can get in the same position each time for the bounce you could also bounce up. We can't really bounce in this room because it's too high of a ceilings, but lots of times and smaller venues it's great to bounce like especially if you have that drop down white ceiling I'll actually I'm a regional coordinator for now lay me down to sleep now let me down to sleep is organization that we'd volunteer a time to photograph families in their babies when the babies are born and they're either stillborn in there going toe pass away, we give family portrait so we rushed to the hospital and obviously it's a very emotional time but I like to stand back, but what I do is I take it's an off camera light technique, but it's the same concept, I literally take one light and I push it all the way up almost to the ceiling and I used the white ceiling as my diffuser and just put light all over the room so that's a bounce like techniques and off camera bounce like technique, but it's the same thing that I do for have lower ceilings with my flash on the camera is they turn it up and I'll bounce it, hit that ceiling and use that white ceiling is a diffuser here it's too tall you could get a little bit it's not going to be a lot here you're not going to get much on dh that's the problem with a lot of people they they want to shoot because they think it's professional to not have the flash bouncing at your subject and so which is true sometimes but you need to think about what you're bouncing and what you're bounced into because you all have different colors if I bounce into your share that person's going to look like they have hepatitis because the screen going really, really bad and you don't want to do that with anyone that's, a hispanic or asian or any other skin tone it has a little more yellow in it because it's going to make it even look worse, which is brings me to the white balance, which we kind of talked about, which is why I like a little colder white balance because it's much easier to warm up that cold image than to cool down a very warm image especially if you're photographing someone that has a little more pigment in their skin because if you're awful not it's really difficult to fix and you'll just end up turned into black and white they mentioned and moving on so makes sense all right? So remember to bounce off the walls and we're going to maura this later on bounce off the walls changeable lot play and I challenge you in fact when you buy the course, you're going to get some great flash challenges I challenge you to do this I challenge you to go home and bounce off different subjects and see what it does because there's no better experiment than just getting out there and doing experiments without trying to be an artist black and white because once you understand the black and white concept of this the science behind it then you let the artist take over okay all right so before we're going to this when you talk about I was too overexposed win you forgot to mention it when you bounce you're going to lose power because the light is traveling farther so that is one problem with these little flash flash is is they sometimes don't have enough power if you're bouncing too far so you are limited in what you're doing but remember you might have to if it's I'm direct on and I'm a zero power I might have to bounce it plus one power plus to power or vice verse if I'm too low maybe negative one is proper exposure I maybe can raise it upto one or two so know your limitations of your flash but as long as your flash can reach that space it plus three or lower that right satellite your golden however you want to try to never maximize your flash power when you're photographing a lot because it's going to kill your batteries so if you could get away with negative to over plus three do the negative I mean the negative to get away with plus two over plus three do the plus two just er settings maybe with a flash closer because that battery will die quicker at plus three plus if you're in a quiet situation as you heard mine going off it sounds you know to win recharges the capacitors and you're in a class situation that's getting worse as your flash gets power gets higher I know that sounds a little basic but it's extremely important if you're in if you're in a wedding situation or venue that needs to be quiet most of time you're going to flash anyway but if you can use flash and that's going off it's very, very, very annoying ok, we talked about first and second curtain, but we're going to review it a little bit first carton flash fires when the first curtain opens up freezing the action at that point second carton flash fires at the close of the second card and freezing the action at that point the shot is which curtain can you see the dice like first curtain today first car dice is frozen and then the trails so as that is experienced started open up it fired and then the slow shutter speed because one sixtieth is not that slow for standing, but for little dice move and that's really, really slow as a general rule of thumb if you want to freeze action it's one five hundredth of a second that's a general hood without flash without flash that's just a general that your your little one catch little johnny running down third base five one five hundredth of a second you wanna freeze water around that that's the general of thumb so was something moving that fast one sixth of a second is not going to be fast enough this's kind of dragging the shutter it's going toe capture the dice but it's not going to capture them without the trail. So which one is this? And the crowd goes wild it's kind of goofy with the cars it's kind of a tough time thinking about that this one's first as well. So I'll put it in so she the dealer and you can see the blurriness in the shop, the car get frozen there and in the blur of the trail afterwards. So you could she's putting a card so you really couldn't tell what the card wass when it froze it, and then the trail you actually see what the card is, this is how you can use creative first and second curtain with on camera flash little things like this make huge differences in your portfolio to your client. This one shot of the two shots can literally make a break a whole reception and will certainly not be in anyone else's photography portfolio there friend that actually just took photos that night with point shoots especially on the automatic settings questions this was second third notice first car because the blur's afterwards that's the key look for the blur and this one's kind of tough because the blur is actually focused because you can actually see what the card is and that's why I put this in his examples and older images the wedding in london that we photographed and it was, um needless to say, most of us were intoxicated during this time but that's a whole nother creative live so actually photographed in first curtain the flash froze the card as she was putting it down and then the slow shutter you could actually read the card because it stopped on the on the table that allowed me you notice that's flat that allowed me to see the card but you notice there's a ghost over the seven if this was second curtain, you would see that entire queen of hearts lane our queen of spades laying over the seven of hearts and you wouldn't be able to see the seven of hearts at all where the card was late, intriguing so think about this how simple this is dragging the shadow like we showed you earlier with macy, think about how simple this technique is and how you can adjust the first a second curtain, and as we explained, we answered somebody's question in the chat rooms about it's a function of your menu. You go on your menu system in your flash menu system and there'll be a first or second curtain setting and just simply adjust that teo each one think about the creativity you could do with this to most people, most of them most of the clients it's going to look like normal photography. They're not going to know that you're doing anything special. Just a flash on the camera. You're taking a photograph we get. The results you get is completely different than other people. And these little things is what's going to set you apart from the rest of the people in the area with a camera. This is what's going to set you apart from most your client, because this has been around for a long time, but no one uses it. I hardly ever see examples of this and wedding photography work or any type of work. We do this a lot with our track stars. For high school seniors, when they're running down the track, we do this a lot way live on the coast. So we have a lot of rednecks. I'm a redneck, and we have a lot of kids that fish. So when they're throwing them the rod and into the ocean, the serfs are frauds, all that we have, a lot of kids, that skateboard, and in fact, we did one the other day, and I probably I'll see if I can get it overnight. And I'll show you tomorrow is also we did us the second curtain and having just blurry going, and he was only doing five miles an hour, maybe, but it looks like he's doing one hundred miles an hour on the sake skateboard. So we incorporate this into our real world photography all the time and it's extremely easy to do.