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What Makes a Good Photograph

You know, we start off with, you know, going on about, you know, what makes a really great photograph and getting the creative juices thinking, you know, in a post production sense, but we can also be thinking about that as well, like when we're taking the image, because sometimes, you know, we we may think, are the backgrounds no good? Or, you know, the lights, not exactly great and way we could maybe move away from that location rather than use that, but I want to show you, you know, how you can actually, you know, rethink that and actually, you know, used tools available to us to actually improve upon and actually bring the vision that we really had in mind, into fruition and into that final image, but we're not just going to do that today, today is going to be huge it's going to be, you know, it was still going to be shooting s o we were unsure about the weather this morning, so rather than risk, you know, having to pull things down, you know, halfway through, we decided we're goin...

g to do the shoot outdoors tomorrow morning, but today, we're still going to go ahead after lunch with the actual shoot of the ceremony and the reception which would be great and we'll sort of you know, talk about some indoor locations and during that time as well and what also what we'll do is you know, go through and show you some of my favorite photoshopped techniques were going to use those free presets and actions so you'll need them today so get downloading them and there was I think it went down a couple times yesterday so be patient you will get it like a female way to download through improved so you uh you know, like I said just be patient today I wanted to be really interactive so from you guys here you know, I wantto I want questions, you know, you know, talk to me and even out there just like, let me know and I want to be give us much information as possible within the three days. So all right, so let's talk about, like, what makes a good photograph? So we're just going to go back through just like a couple ideas I've bean really fortunate where I guess my grounding in photography was in landscape photography, streetscape, photography and it really sort of boarded on that like fine art and a lot of the photographers that taught me a lot what I know today is the basis we're really great fine art photographers and fine up screeners as well, so I was really taken under the hand off me. I would tio be taken into a wet dark room and taught how did produce beautiful black and white prints, and it was it's the most amazing thing. So if you've never done it, you know, look at there for some way local way, they might be like a dark room where someone could just teach you for an afternoon like the craft and because it's sort of like this just using your hands and dodging and burning and and it gets the mind working about what you want to communicate so what's great is that you've got to make decisions you gotto, you know, think about what is the center of the interest, and I was one of the probably the biggest things for me as a landscape photographer it's so hard sometimes you know, of identifying what that center of interest is, because you might have this beautiful same, you know, in those rocks as traces clearasil in a rolling hills, but this still has to be a center of interests, and you have to choose what that is now. Generally on a wedding day, it makes it easier for us, you know, because it's like because, like, if you're photographing the bride and groom in a paddock, obviously more than likely, that is your center of interests you know, so it's really easy. So I guess what it was I was fortunate about, you know, learning from the landscape on it was hard and I was terrible at it when I first started, you know, I was just like I thought, you know, and I guess I just get them practicing and practicing and that's the key, you know, like, with anything that we do with photography. It's just practice, you know, all those little things that, you know, like I talked about, like, the basics yesterday, like, I really encourage you to go back and re watch that over and over again because you're always going to pick up something new that I said and no little lifeboat will go off yeah that's, right? You know, now I get it and that's, what has to happen to me especially, you know, we've composition, you know, like a composition is an amazing thing and there's no right or wrong, but, you know, it's a break the rules, everyone says that you need to know the rules first. And you know what? I used to go through and read books and books, and even my dad's books had about composition, you know, I just never got it, you know, I never ever got it. You know, I persisted, I kept on going at it and reading and learning more, you know? And what happened, wass, is that people would start seeing my working. I mean, I just love your composition, you know, it's just amazing, you just and you and I'm going what? What are you talking about? You don't I mean, and I didn't realize what it was just subconsciously, you know, feeding into me and that's what I loved, and so that's where you don't want to talk about is learning from the masters is that this is where a lot of my knowledge comes from and so immediately, you know, photographers, you know, from a digital dark room once you getting sorry, a wet doctoring, and you sort of start definitely learning about ansel adams, I mean, you know, the guy's a god like, you know, it is amazing design system, how it's printing and everything like that and this is what's really, really important we need toe opening our minds up everyone has different ideas off what is an image and how much work should be done to an image. But all answer adams images were very heavily worked, but sadly, you don't mean so sometimes, like I could spend a whole day working one image like a whole day and then you look at a new you would think where's all that work on because it was all subtle you know and it was the same thing like you know, people printing or you know ansel adams putting his own work or you know he's assistance printing his work you know it was all very subtle but very particular and everything thoroughly thought out and that's what we need to be thinking about is all those thoughts going through and so one of the things that I find is like um is having a unique vision you know look at eliot oh it for instance like I just love the humor in his work it's amazing you know he has a unique vision a unique personality that he shares with the world you know and that's where it like you know like sometimes there's wedding photographers we really do have to think of ourselves as fine art photographers oh we have to think of ourselves as a photojournalist or you know a documentary photographer because so many caliber assan and elliott erwitt both you know you know you know in the short members ofthe men in photography that I just love tio even to today all the photographers are part of that group and you know both of them just so different but boy for you know documentary photographers you know both had their own individual personalities and it really stands from what I just talked about yesterday is all their life experiences you know came through in their photography and that's why it's so important for us as wedding photographers to be doing exactly the same thing you know and that's where you know it's not just wedding photography that we're talking about it's really being the finding the artist within you you know and we often find it very very confronting and we don't think of ourselves as artists but we really are when you really break down what an artist is it's just a person in a personality communicating a message or a thought through there are you know, it's an extension of who they are and really like I was wedding photographers we still artists you know, we just don't think of it that way so one of the things that I d loan from you know masters um in photography is like a unique vision and within that is that emotion and that impact and I think you can see that in my work you know that's what I really right up it's so important and some of the you know like the most famous images that are embedded in your brains from seeing them from the last twenty years so he is no matter how old you are from a little kid you know, like you know, seeing him in newspapers in galleries and so forth some of the most amazing images you've ever seen have totally many flaws you know, no composition or lacking composition light it could be blurry it could be out of focus, you know but you know what the defining moment wass that there was impact there was a much it was something very, very powerful and so it was really, really important that you know, we bring that and we're thinking about that when we photograph and that's why yesterday was so important so we can identify what really is important about what is to capture because I write that up is, you know, number one, you know, I mean because I think unique vision just sort of you know, just happens you know, if you are practicing and that's where I talked about I'm going to share today in a personal story and because I think it is so important that like I get teo you to understand how you can tap into your own lives and all the pivotal moments in your lives that have shaped who you are that you can bring to the table and it just connects it a little bit more, you know, in certain situations in through the daily exactly what you're saying I mean, you know is like, you know, it's like, you know, your personal moments really do connect in some way with the couple's, you know, and other personal moments and that's where I'll be getting you at home and here to write those personal moments down everything that's really happening your life is like a pivotal moment. We need to be writing that down because that's what's going to come back is to this unique vision you remain and it's so important. The other thing is simplicity and the most beautiful photos in the world and the most beautiful art works in the world are very, very simple. You know, behind those simplicity is often a lot of complexity, and a lot of thought has gone into it, you know and say, sometimes, like, you know, when you're flicking through a newspaper or a magazine, it's, the reason why you keep flicking or your stop and you go well, I like that, or you're just drawn, and it might be an advertisement or something like that, but it's the simplicity of that image. And this is where you can actually go to an art gallery and actually study the paintings on the war, from modern art galleries to even, you know, class alone, classical our colors and see that first hand. So the other thing is light and that's where, you know, like I felt like I fumbled three years, lays the very last session. The explaining light because I never used like a live view like you know, to show the light ever before and and but so today, like when we go shooting I'm just tethering I'm just going to do what I do best so you know, I like so you can just see firsthand but you know, like it's so important and there was a lot of questions, you know, like on the chat rooms about so what if you know, how do you see light if you know you don't have a huge window, you know, lied is everywhere and you're just gonna look for the quality like even if it's just like a lamp, you know, I mean is on this you've got the face in the right positioning, you know, or you move yourself to actually because sometimes it might be a further journalistic moment in think, well, the lights just not right there. If I move, they're just that little bit the lights just going to that a little bit better and we'll try to get a little bit more questions from you guys so I can show you that because I guess over the last ten years it's just come second nature, it was like, you know, like the six of us here, they you know, in if they had just asked so you know when you saw you know I took her kim to the top tier how did you just know the light would be there? You know and I just I just know it you know I mean it was just instinctive and that's where I'm saying about practicing everything has to be instinctive you know? So you need to know your gear and like all the dials how do you how do you change them? The camera has to be you know, like it's like you know you it's like a you want to be out of just grab your camera just gotta shoot you know no mean so don't let anyone else touch your camera you know, I mean it's like, you know, like, uh it's got it's your little baby you know, maine it's like you a little precious thing and so it's really important say the other thing I think is what I've learned from the master's the creativity you know, there's so many amazing fighter but even today like I still come across any photographers you know and go wow look at that creativity now it doesn't mean that I'm going to go copy that or you know, I think that's the worst thing you could do is copy another photographer you know, like I know photographers go into tumbler or things like down and they pull images and then they go copy it you know exactly don't do that but certainly be inspired you know grab like a folder and you know, copy images and put it in their photo and call it an inspiration photo not a copy for you know end because honestly the more you're doing that and the more that you're employing that into your work it would into your brain and just feeding at all the time new material you know, it's just going to just resonate with you you know and just little ideas they're going to come together and what you find just so great about what you teo and about your personality and that unique vision and learning about the creativity it all starts to become your unique style it just it just happens you know and you gotta work hard for it you know and that's what's you know really what I love doing is because you know, like I'm always learning I'm always learning the time that I stopped learning is this time that I put my camera down and give it away you know, because I don't want to be style I don't want to do the same thing you know I want to always be refreshingly name you know and as soon as I get somewhere I go great that was good that I was I wouldn't do that but you know, my mind's already going to be thinking about what am I going to do next because that's exciting you know like it's like you know like going back to that possible photo I never want to be that person ever again, you know? And I'm sure you know, you guys here and the people of time don't want to be that person even you know life's too short and you have the charts choice to be ordinary or extraordinary and it's your choice you make that choice so creativity is really I just I don't know I just love it you know what I mean and it's part of that learning process, the other thing is composition you know, it really is important that you learned or sorts of composition and there's so many you know, from s curves leading lines you know, full grounds and you know, you know and also like things with merges and, you know, distracting elements you know, fortunately these days to you know and this is where I think we've got to think like an artist, sometimes we're forced to, you know, take an image like I'm going to be you know, today in a foreign situation where there's going to be cameras around there's going to be cords I'm going to be sort of tired to cables and so I'm gonna do the best that I can in that situation it's gonna be weird, you don't mean and I'll let you guys know how weird it is but you know, like the thing is is that sometimes it might be something in the road you know, there might be a person that's not really supposed to be there, but I'm still going to take the shot anyway because I know increase production I could just take that out, you know, and it's the tools available to us now for a long time you know, first off I usedto be really, really hesitant about doing it like that and I know a lot of other people out there sort of feel quite strongly about it should be pure should be exactly what you saw you know what when I started learning about painters and that they start with a blank canvas and you know, like some of the you know, painters from the thirteenth century there may be in a square and in venice and, you know, using a camera obscura and what they're doing is like, you know, using a prison to be able to project what was happening on outside through a window onto a war in a sketch it you know, and I sketch it onto their campus what the thing is when they're sketching is they make a conscious decision off what to include and what not to include, you know, and it's exactly the same for us is that we have to take the image and everything has to be included but we have the choice afterwards to extract something that shouldn't be there now I'm not one for you know dropping in skies and making things unbelievable but I am I believe in actually delivering a perfect piece of artwork to a client and I believe very strongly about communicating my vision of what I feel inside that really should the client they don't want to give the client and so that's really important and we'll we'll talk a little bit about that today so you know for finally you know is the defining moment you know henry cooper sent us on you know coined the time and every other photographer you know has followed suit and knows that it's that defining moment that makes the difference between a great photo in an ordinary fire and sometimes that it's like a millisecond the difference and you have to be prepared to capture that image in a millisecond you know there's a lot of things that we can do in photo shop and you know and in light rain but we can't change that we can't change the defining line you know and so that's where we're gonna be raises shop and practice and practice and practice so when we're on a wedding day we can just nail it you know I mean and you know what when you nail it you know it and you see that image and you get that shiver down your spine you may go wow, that was cool and then you move on you know, get the next image you know and this times you know this times when like you know, like I've missed a moment you know like I just like I kick myself and you know what? Sometimes it's actually a problem I kick myself so much that I'm forgetting about like I'm beating myself up for about five minutes I'm now distracted so you have to tell myself all right get back in the game you know what I mean? Like you know like an you know, like I'm just get back and there's gonna be another moment you just going to be prepared for that? All right? This is one of my favorite favorite artists from the media and another honest I love is too huge and uh you know, around the sixteenth century and in the netherlands and you know, like I just learned so much those I wish I included in the presentation the one from pierre de who is that um he does a lot of like a family portraiture and it's sort of like environmental portraiture and and so often you know, we don't think about how much we can learn from painters from four hundred years ago you know? We think that sometimes we think that we know it or anyway you know I mean but the thing is oh, we think that we've just come up with something new there is nothing new all right? It is all being done before and you know what it was probably done four hundred years ago that's a scary thing you know it's amazing when you start learning about history like I remember being in greece and you know out on these outer islands you know and funding out that it was like, you know, like it was a long time ago where it was like, you know, before that even the roman days and I had plumbing heating and everything like that all sorted out you know and it was just incredible, you know, like what they were able to do and you think uh oh I thought it was only like three, four hundred years ago that happened you know, remain and it's not it could be like two thousand years ago but the house and you know, like so whatever we think that you know is new it's not you know and there is so much to learn, you know? I mean, here we are we're probably going to other photographers blog's to learn what they're doing and everything like that were really the rial information is this, you know, breaking it down understanding about it, you know, because here we could look at the line you know, look at where she's positioned in front of that window now look at the light on her face from that window was exactly what I was doing yesterday you know and we can I sort of understand and break down the lighting you know, the composition you know look at the natural big net off that image think of the composition off where we actually the layers of that image we got the curving in front the levels and then we've got the painter then we got the model and then we've got the back wall so it becomes more three dimensional so we can start thinking about oh so what if I have something in the full grand of my image and that's what I try to do and and uh that's one of the things that I was mentioning about greg gibson and cliff mountain air yesterday is that they said and they were telling me about you know, we're now shooting for the newspapers is that they had to go out and get the shot and well from what I would call is that they have to get the safety shot they get the safety shot then they can play then they can get something well, you know, I mean and that's where I guess like I started to think about when I'm on location or I'm shooting a broader portrait you know, in during the preparation and I've got control is that okay? I got control not only sometimes over the the model I mean the bride, but I've definitely got control over the environment in my space and my positioning. So what I can do is like, I think, well, I'm here what if I just move back a bit? What if I made this table over and put a plant there, you know, or some flowers? So now I've got something in the foreground, and it may be the angle of the table is now becomes a leading line into, you know, to the to the bride so we could be thinking about this, and it is just sort of, like churning, and and the more you get to know these principles, the more he seen and fits into your subconscious, and it becomes more autopilot and that's what I find is that, you know, like, I'm just on order part and, you know, what's great about that, is there nothing? Just concentrate on the bride, you know, I can just smile because, you know, like, one of the you know, I had all those tools out yesterday, you know? You know what your your your biggest who is is your smile, it's infectious, you smile, you know, and people smile back, you know, people feel good, you know, like they had that thing way like you feel laughing you know and you could be like freeing about nothing all of the sun and people just that laughing with you because and I don't even know you're laughing about it's the same sort of thing so when everything's going wrong you know to mean just smile stay calm you know no mean now in your head you're probably going god, what we're going to do and everything like that but you're just smiling and you're thinking you know, like, uh and you just got to come up with something you know, I mean you're gonna change the wrecks and you get a maid you know and so that's where I got an a ok so here like let's look at the subject matter like the use of color here, you know, the times you know and then you can actually go greater to detail like about understanding color principles so if you've like used red now red is where it's a very, very dominant color and your eyes in sling drawn to it but now if you got red, then you need to balance that with like, a greater mass off eva green or you know, a blue or yellow like it is going to be balance so unfortunately if you had like the whole war read and then you had a person in yellow it's not going to be balanced but the thing is the way you could do it is break the rules so it works you know, so there's no right or wrong but you need to understand the rules and the principles first then you can go ahead and break them and I think that's one of the things that the moment that I've personally saying I guess mean in the industry for for a while now with new people coming in is that you know, some people are learning those basics so those basics are being forgotten about you know, when I first started going tio w p p I you know and hoping come along you know, I think would be wonderful if you know if you can make it all to w p p r you know, there was a there's a photographer and you need to check him out he's a legend in america and that's montes aka he was one of the greatest teachers of photography there is people like bambi and my good friend jerry highness lead so much from him you know, and I'm so glad that how great of teachers both they are that they're teaching those basics it's like being, you know, brought down and to a new generation but you know you at their liking internet land and and here is that we've gotto except that we don't know it'll you know and that we need to know those basics because if you want to call yourself a professional photographer, you've got to know them you in that way you'll be great and in all situations you know there is a photographer there's so many photographers back home where I just would go to seminars all the time and then we just share this knowledge and was just like a sponge you know, in some of these guys are you know, you know, twenty, thirty years older than may and sometimes you can think you know, what do I have to line from him you know, like they passed a man that is the worst thoughts that you can be thinking is because you know, like they've got so much to give you you know? I mean maybe not from a creative side because you're going in a different direction but just the basics and knowing understanding about light, you know, it's just incredible there's one photographer I've learnt like from, you know, back home and it's rob haman you know, like a fuller queenslander and another great portrait photographer wayne redford you know, and those two guys are really great friends and they know it you know, these guys are like x cycle pds, you know, I'm being when you got a son I've gone to w p p I you know, use the guard and here I am doing platforms in front of two thousand people you know and and then I'm thinking no, I don't need to go to one of the people and I know what I'm doing you know, the main that's I'm crazy, you know, like what I get so much out of, you know, going to a platform and seeing another photographer, you know, seeing someone like jerry and oh bambi, you know, I mean, I get something from them always so never ever think that you know it all it's really important so the tonal rains but also the point of focus is so important in our main think of that point of focus, which really is that center of interest, you know? So you gotta make the choice and the decision what is that center of interest? You know, always be conscious of that, and I'll show you the tools like even in photo shop on dh hopefully during shooting that can highlight that center features it's really easy, you know you're gonna like and I'm giving you like our favorite dodging bone action so we can just do that really simply really subtly but it's it's really cool like I want to get to that I regret. So what makes a good photograph all of these? Exactly what I just said about those paintings makes a great photograph exactly all the same, but for main number one is impact so let's think about you know, some of the things that you think about what makes a great photograph and maybe if there's people out in little like I know there's two or three of you out in the internet land maybe if you can like chime in and you know and uh tell me your thoughts you know, like what makes a great photograph to you because it's different for everyone the study of ancient is there anything that you well and it's on your list? Of course, but you know when I see a photo and there's strikes emotion, whether it's somebody that's my family or some stranger that hired me but I look at that photo and I just feel emotion whether it's excitement or happy or sad or you know, interest or whatever that those are the photos that I say that's a that's a great photograph great, yeah, and and he says some elements were being that you think you know, when I'm looking at my own work on dh producing you think you know is there I didn't think I would love to add to this list a cz well so like and it's what I want to hear from from everyone as well like let's add to this I'll get it like a white board and we can just write it on the tv screen I have a comment from online yeah great this's from c k s photography who says connection yeah, I think of course I'm not able to do it I'm going to get there one day though because I believe in myself yeah um I like simplicity amongst confusion uh I think that was great the picture of of the lady in the house yesterday yeah, that was exactly what I was talking about simplicity with the use of light in confusion on I love that yeah that's a great one because yeah, I love that look and I've seen some some artworks and and, you know, some really great photographs where that's just you're right in it in that center of interest and just really comes out so and it really tells more of a story uh choke cherry and susan e both say that emotion makes a good photograph they think a great photograph is one that evokes emotion yeah, I agree and ills lucero says that the story makes a photograph and the right moment is what paris pere upsy twenty twenty says this and muslim in says the wrongness of the moment this excellent it's good I have those unexpected moments that you can't necessarily anticipate you do expect, you know certain things that a wedding you know, the couple to be excited to see see each other you has the bride comes down the aisle but like yesterday when he talked about that father of the bride that broke into tears of those things you can't plan and those were the most beautiful telling moments and I love when something just takes you completely off guard yeah, I agree you know and that's what I was saying you say is that you can never like, you know, take time out, you know, the main and when we're talking about the reception you know, today is a when's the speeches have finished you know, we can't think about getting fed you know, I mean forget about food, you know, I mean pull through because you know, straight after the speeches is when some of the most amazing moments happen but often it's the terrible thinking man it's been a long day I'd love some have something to aid but for me I remember like one moment and it was like, you know, like it was a moment that I missed, you know? And the little boy was getting ready with the girls and it was just the door was slightly ajar and the I couldn't see the girls, but I could see him and that one of the ladies has put her brow on the bed and he's trying to pick up the bra and then like at the same time cup it, you know, like it was hilarious look and I'm thinking like, you know, like and then I kicked myself because I was thinking something else, and but I saw it happen, and I was too slow, and I missed that mine and idea literally kicked it myself, but anyway, but there's, what happened was amazing is that a little while later there was a mannequin outside and the dress had been taken off, and here he is like, you know, about the cup, the actual manic in, you know, and I got that image, you know, I now that on and you know what the funny thing is like, could you imagine if I said, how could you do? I miss that? Could you do that again? You don't know mean, like I'd be going to jail, I think way like crazy, but those moments just you never known like it's always the unexpected are the greatest moments that, you know, as a photographer ends up being the in the most rewarding, you know? Yes, I'm expand on light a little bit I'm a sucker for amazing later yeah, and that's what I always try and improve my use of year after year, but we'll always draws me in is one you get a powerful image where it's not just the light is really pretty, but where the light can enhance the mood and the emotion of the moment and everything it's already happening in the emotion within the image one that all comes together yeah I think that really makes an extremely powerful image yeah definitely you know and yeah it's really yeah and like one of the things you can do if you want to if you find yourself in a situation you could actually create that light like that of most amazing light so you know so we brought along today like like a pro photo pack to use outside tomorrow says just support warren and used like maybe one or two you know sb nine hundred or b nine tens and you can actually create some incredible lie we're just a small little kid and do that so yes right so when it happens naturally that's even better you know that's what I love all right so let's talk about like you know like a touched on this before what is an artist and just don't get hung up on it you know I mean it really really is simple it's a really simple definition but why we think about it I think when I started thinking about it and in our terms and so forth I just thought it was really complex I just never understood it but really when you break it down it's very very basic again it's just an extension of who you are and that's why I just think yesterday was so important you know, and then we'll continue a little bit on that today and tomorrow I'm going to share a couple of personal stories of mine, and the only reason why, um I'm going to share them is because I think it's so important for you guys to feel, you know, going to yourself and get out some amazing knowledge that will help you, um she, you know, better, you know, and be a better photographer and and really understand, you know, each other, so when this is an image that I that I took when I first was learning to be a photographer and I was very fortunate to, you know, travel through year for six months and, you know, we took a long time off of work and to give an idea in australia, you know, when backing I was working for the bank, people I would work with would apply for twelve months, leave twelve months, and that would give it to them unpaid, but they could get to europe and go travel, it is a bit like a gap year, you know? I mean, and I saw these people going all the time, and they come back to the job and I was thinking, what if I don't my life, you know, my life sucks, and I've done nothing you know and here they've got had this huge adventure and so this you know helped me really spurred teo you know create a better life for myself and so me and my wife penny we were just save and save and save and we saved enough now when it came time to leave the funny thing wass is that my wife is amazing and like so you know in business he's just amazing and she's like the secret you know, the studio impressions you know and the funny thing is that when she applied for anyone to go for six months is that she got twelve months approved leave when I applied they gave me three months for six months approval likely so that was the best thing that they ever did you know why is because halfway through my trip you know me and my wife are in spain you know and we had to make a decision am I going to leave the bank and leave that secure job all that security and risk everything and be a photographer? I had one wedding bolt which was six months after I was getting back I didn't know what I was going to do but we talked about it and we say we're going to do it we made the decision I stayed up so three o'clock in the morning my friend gave me a hand we had a few drinks I had to ring and they said, oh marcus that all the managers air in a meeting and I said don't wear your ring back tomorrow and I said no, no we'll put you through so they're having a big board meeting, you know? And I said I'm resigning and I said, ok, we'll need it in writing to make it official inside, okay? And then so what happened was is that I wrote out my resignation letter that night we had to drive an hour to san sebastian to go to a post office to get it back because it was it was faxing the fax was going to cost me fifty dollars, the fax it anyway and on the way like I ripped it accidentally ripped the paper and I didn't have any more paper and I thought, I'm not spending fifty bucks to resign and so I mailed it, but then I realized it was all ripped, you know? And the thing was it was just a great feeling I felt free for the first time I was excited and my journey started as a photographer, you know, it wasn't easy, but you know, we mean my wife, we we slept in cars who slept in tents freezing cold however we did what we could to get through that through six months, I could just photograph and we didn't have to work you know, it's really rough, but it was the greatest time of our lives. All we had was this backpack and oh, the anything we own was in that backpack and it was this immense freedom, you know, like even in now, like, we get all these things, like, you know, that we accumulate like tv screens and cameras off, let lenses and everything, but all I needed was my one camera and just that backpack, and we spent the last two weeks in era in grace, and we did a business plan, we weren't at my dreams and her dreams, our dreams collectively together for me being a photographer and that's all that business, plain ones was that dreams, you know, I dreamed what I wanted to bay, and I wrote it down. I took that hime and we try to work out before we left, what I could do, and what I did is I thought, you know what? I could sell my images at the markets. I do have a print, I could set up a darkroom at hime, you know, when it's seen as I got time, I bought all these things toe, you know, uh, make a stand printed through the night because I had, you know, I couldn't print during the day because it was you know, like light would get through and that's what I did and when we're in here I thought, you know, it's going to cost a lot of money to have a market stand cost twenty five bucks and back then in brisbane it was the most popular markets like five thousand plus people would go through these markets what a collective audience people relaxing so they people were buying these prints on the walls, you know, like then I thought, you know what? I'll stick up some portrait's and I'll stick ups and wedding things and then I got my first portrait job two weeks later and it was an incredible portrait, you know, opportunity and then that's how my business grew I was in the market I'm not embarrassed to say it we wrote in our business plan that I would be there a maximum of twelve months it was probably about six months in that things were taking along so much that we didn't have to go to the market anymore. So what I found what was important about having a business plan that were full of your dreams is that they became your goals and that you said minimal goes like and then yearly goes and in five years containing his goals and it was all day and we did that you know in here and you guys can do it too is just write down your dreams and believing what you want to do and then they become your goals and that led to give you the foundation to work really hard at it, you know, and that's the thing you know, like that is the hugest difference from me being a banker to me, being a photographer hated the photography, I mean the banking passion for, you know what I clocked in at eight o'clock, and as soon as I was allowed to leave it for thirty, you know, like every lunch hour, like I would take the full lunch, I would go down to the gym and work out it was great, you know, what happened when I was a photographer is that I would work eighteen, twenty hours sleep only because I had to I would eat breakfast, I'll be thinking about photography, I would be talking to people and I'm having a conversation with people, but I'm all I'm just thinking about his photography, you know, my life now is just so much photography, I just love it, you know? And I would work so hard at it, and I continue to do and it because of that passion, it makes the hugest difference, as are saying yes, sir it's the key to success, you don't have passion, you know, going to be successful and it's also the difference what I said today you know you have the choice to be ordinary we have the choice to be extraordinary it's up to you you make those decisions and I learned that the hard way as well the onion person that's going to make it happen is you really at the end of the day definitely I'm really really blessed to have penny and she supports me and she's like you know like my coach and you know she backs me up all the time but sometimes she's not there you know in the only person is going to make a difference is may and like I said I always have challenges always along the way but and I have to lift myself up and overcome those challenges so when we come back and thinking about us as a photographer and our dreams that's what this trip was for may this was my trip and I shot this with black and white film and when I look at this image and like this I don't see those dreams and even though this is penny when I took this image for me it was representing may looking out to the future and so I painted it I painted it because it had so much life I chose the colors you know it was not that color when I took that I made choices of what I wanted to communicate to other people I wanted to make choices what I wanted to communicate to myself and remind myself off this trip that I took of my journey of where I'm going you know and each and every one of us can read something different into it and that's what's great about odd work you know is that you read what you want to read into it you make up a story but I just told you my story so let's talk about just muster pretty your work yeah because I just wanted to add how many people are in the chat rooms telling their stories about how that when they left left their jobs or people that they leaned on in order to get through it so it is really universal story for all of us artists you know and I picture there's a lot of people at hime like um wondering when can I leave yes you know I want to make the leap and or words all I would say is that if you love it so much you wanted so much they make it happen and you need to make that leap but you know you make sure to you go back to yesterday's footage you re watch it over and over and again and and learn all those basics and get to understand because you need that you know I mean you need to differentiate ourselves like you know the guys in this room they know how crowded our industry is and how tough it is to be really good at it, but that doesn't mean that there's no room for other people like I say, like cream's going to rise to the top and you have to be that crane there's a lot of people j f noble saying omg marcus, I feel exactly the same obsessed and cherry sun's up very well by saying holy crap is awesome! That's great, fantastic all right, so let's think about master printing a work remember yesterday I was saying that our spending my whole life very early on, you know, producing every image to a work of art for the client and so to the plane way I didn't have time to see clients is crazy, you know, you know, and I learned I learned, you know what I mean? And I moved on, but I still kept the high quality of work because you know what happened? It sets me apart from my competition, I find it astounding, but the secret is this is the greatest opportunity for you. I find it out of outstanding that so many photographers do two things they don't edit, they work, and before they show their clients they pretty much show it close or nearly just out of camera for one secondly that people outsource it now I'm not against outsourcing but what I'm hoping to show you some workflow techniques is where you could take control because you need to really have your signature on those images not someone somewhere else in the world adding those images for you because they aren't you they haven't got your personality they haven't got your vision of what you want your work to bay, you know and I'll share how you can do that really easily today but what I found is is setting yourself up so you're different from everyone else your look is different, but you're at least even just showing high quality work these people are going to talk about you really are they going to go? Wow look at that, you know amazing like a beautiful print you know, on the on the wall that is advertising who you are to all their family and friends that album so it needs to spark or it needs toe be different to what everyone else does and like I say we'll show doing and what happens that can diminish price becoming a factor because if you look like everyone else, how can you be more expensive the neighbor? What else does that make sense? So if you're looking amazing, you can price yourself amazing you can actually price yourself what you're worth, which is probably more important too often we undervalue out we undervalue who we are and what we should price ourselves one of the problems I see in our industry at the moment his pricing is because what's happened is that you know, people come into the industry they get really good reputations and they get big follower ships but you know what those people didn't know how to price to start with and the people following them think well I'm not as good as them so I'm gonna price myself a lot lower but if the pricing from what they're getting the information from is inaccurate what does that mean down here? I can tell you what it means people go out of business, they don't survive they may be in this industry for one year two years but that's saying you really need to make your own choices on your in processing and you need to stick to it you know how about like a talking about photography when everything falls in line and you gotta believe in yourself the same with pricing if you believe in your pricing you know what the people enquiring with you will believe it as well you know why is because you're setting yourself apart from your competition surprise doesn't become as much as a factor it always will be to assert integrate so it's not going to eliminate it but it helps you be I would've price you where you probably should bay to even just survive you know I challenge everyone tio add up the hours honestly off everything they do at a wedding day all the preparation you know, if you're doing the preparation that I talked about yesterday and a mention how many hours that is and you really should be charging for that all the post production, all the fine cause all the e mails or the customer interaction you should be paying for that oh, they should be paying for that so you need to actually know all those hours up and you know, I wouldn't be surprised if it has after eighty plus hours now even mohr in some cases some people are a lot more involved with ours you know it well with their clients, so might be like one hundred twenty hours imagine if you're just charged fifteen hundred dollars you know, to photograph for wedding you just one hundred twenty hours you know, someone in the home maybe do a calculator and you know what that is per hour and I think you would be shocked you'd be really shocked what that alley right is look at that figure and ask yourself, are you worth that? Are you worth those freaks? You know, a few dollars oh are you were so much more markets twelve dollars an hour, twelve bucks an hour, you know? And what if you're pricing yourself a lot less than that? What if you're a five hundred dollars e I just had a quick question because I believe you fully on you need to price what you're worth and have to believe in your pricing but what you know we're and I'm not trying to speak for everybody but I'm experiencing that the general public sees me show up take pictures go home and I tell them you know like when we say because I need every bride pryor and I sit down with them but I don't want to say I'm price this way because I go out beforehand and I do this but how do you how do you overcome you know when they're like but you know you just you know I don't know if I'm making sense but you know what no definitely no it makes perfect sense so you do what you need to educate them you know, you know in I don't want to talk too much business but it is important you know because when you ok so when someone rings up your you know it sends an email what's the first question they ask how much how much yeah how much? Okay when you're shopping for something you know and you're looking for a service what's your question how long is gonna last known in a net like I mean like like you ask how much yeah, you know why we asked how much is because we don't know what else to ask you know mean you know, because we uneducated about that process you know, no matter what photography is what's involved so it's important really not to answer that question straight up you know don't answer that straight up or you say, you know, we're starting from and but before you answered it you said, um you start talking about the benefits that we do you start talking about them, you start a conversation you know, and this is where you know it's really important, you know? And because then you try toe engage them a lot more, then you start educating them and then you tell them the price because you've made a connection to start with all of a sudden it's not just about the price they're starting to like you as a person oh, if you're passionate about it, they'll start to get their passion and ago when I like this person you know, and if like they've already heard someone half the price and they're thinking, you know, I love the passion in this person I love that passion in ancient she's got so much energy, you know, and she seems actually going include so much more that seem important because you told her it was important, you know what I think it's we're spinning that extra money, you know? I mean, so there's a lot of things that we need to do to be our to educate ourselves first so then we can educate the decline as well. So so yes, so it really is it's really important power? So one of the things is it also creates a reason for people to talk about your work that's where a lot of our farrell's like businesses is referrals, you know, like just like, you know, a photograph ian is waiting because I photographed a sister's wedding, you know? And I think one of the reasons I photographed her sister's wedding is because a planner that loves our work referred us, you know, no main and because we did something right, so you can see how all these connections can happen and how, ah, great business model can really eventuate, you know, and it also gives us the ability to be the complete professional and I really start feel really strongly about that, you know, I don't feel like, you know, we're only doing half a job if we're not doing this side off the job, and this is where, you know, like, if you're investing time to deliver this is that again, letting clients know the art side of what we do is really important, so for me, it's a drawing out the emotion, you know, and someone you know was saying that about the important um aspect for me that's that's it it's drawing at the emotion about master printing it's highlighting the center of interests that I'm going to show you we can improve the composition remove elements that are distracting because I'm going to quickly go back um see here there was like a bean you know I mean I don't want the being in my dream you know I mean it was not like you know like a vision so I took it out you know? So that's what we need to do is like think about like you know, remove anything that are distracting improve the quality so how did I learn about all this? I was given this book buddy eddie if rooms and I would encourage you to buy it even if you never ever going to go into the wet doctor because getting into the psyche off you know like these uh people that printed you know you said it was a very touchy feely thing you know like you know like just going in and feeling the image dodging and burning you feel you felt it you know, it was like this this practice and so it just sort of talked about dodging and burning toning and this is the before and after and this is just using film so it's sort of form a is like to show you an example of how you can can you get your vision very simply is that I've learned rules along the way now this image I just love this image because I knew the relationships you know I knew that she was watching her brother get married and she was either come with emotion. Now this is one of the reasons why I use a lot of natural light could you imagine if I had a flash and I just sort of flashed in then you know I mean so even though the light is very low and dim, the quality of light is still there. Ok? Now one of the things that I learned is that you need to rotate in image one hundred eighty degrees so you're so you can remove the subconscious element of how you look at images sometimes our brain is trained in a way to see things or forget about things that you know but memory came back to simplicity being one of the key things. If we can simplify this image because it is a very busy image, then it would allow us for when other people are viewing it to be really more enjoyable. So I flip it one hundred eighty degrees and analyze now where does my eyes look like in the back down here there in his shirt so I think of it sometimes is painting with numbers so I re rotate it and I wanted I've already envisage when I showed it because it's more of photo journalistic moment that I wanted in black on what anyway because it's going to take away all the colors and that information so that's the image you know and what I did I just clone that image out you know to me he's the center of interests I lighten her to be the brightest part of that area and then it was going across to the little boys you know and your notice now that this is a lot darker so we can read that image we can see her emotion and that was done in literally five seconds fight that's completely different every image it's a completely different image what would you have done if you showed the client that image the client would have just moved past it you have been special exactly the client would've just missed straight past it and didn't see the moment in how powerful wass I mean what I sorry yeah I said what I love about it is that I would be thinking when I captured this image in your head when you're just taking the image you're seeing the mom and just feeling it and and so like he said that when they go past it you just think well wait a minute I was invested in that image and so it makes so much sense to what you're saying hi to enhance it so that they see what you see yeah exactly and you know like on gets his way like, you know like, you know, people like ansel adams and eliot oh and henry kelly was song and what that would do that in the doctoring you know, not necessary climb that little corner out but they were just lied in dock in that area's you know, I mean what they could have done is like, you know, like use bleached a lot and as well if that you know in certain areas or they could have used like really hard core burning in to get rid of that spot so would've been black you know? I mean so they did it you know? And I think the more that we understand that it's always been done is that it's okay for you to do it in fact it's important for you to do it you know, because you've got to communicate what you saw what you felt in that moment you know, like and this is just a pure photo journalistic moment that I saw so you can't go in you know, with big lights flashing and you know otherwise it would be come it would she would feel uncomfortable she would go off you know, like they've just noticed that I'm feeling really emotional, you know? And then she becomes self conscious, you know? So so that's the idea okay, so uh let's talk about like a few examples you know, like this is where, like was the basic image that I took off role, but that was my vision for that image, you know, it was just bringing that in this was, like a really simple image, and it was just used to be able to do this in the dark room, a swell in the wet, dark room is that because I wanted the strengthen the composition is that I just flipped the image and document and big net it and used a little bit of softening in certain areas, it was really simple there's no tricks, you know, it's just sort of our principles that I employed very quickly to be out of communicating exactly what I wanted to tell us the story, another example was this image, this is the role image of that, but I didn't want I knew I didn't wantto show people that, but that's what I saw, you know, because it just now you see that sir of interests it's less distracting, you know, of the other elements, but all the other elements add to the image and so that feel it adds to that, you know, a moment the coloring adds to that moment, you know, I mean so it's important to know that not everything needs to be just normal color and normal, black and white you know I'll show you today like you know techniques that you can just really change it and find something that suits you and you can do it like in a second you know it's really cool and in fact the presets that you can download and hopefully everyone's able to download them okay um is that there's all different looks in there that we can just that they're yours to keep you know so this is that remember that same sequence that of that image after they got to that tree that came back was a beautiful shot and that's just the role far and this is completely only done in role the role far only haven't even opened it up in photo shop you know so we can do that either in adobe camera roy through bridge or just before you get that role file open into photo shop or done through there also it was um you could do it in light room as well, you know? So talk yeah quick before you move on just a couple questions I am jennifer is wondering when you convert to black and white do you no longer include the color version for clients to only include that that final version on then judy be photography or wondering if you when you've edited a photo like is dramatically as he did like the mother and the son do you do edit it before they ever see it yeah, so I've ended it before they ever see it. Okay? So there's no second guessing okay, so that's really important secondly was when you convert to black and white do you no longer include the color version or do you include both versions some time? No, no, I don't clean by officials only clean the black and white but this is the thing is that because I've got I'm engaged because the client's educated may remember yesterday I asked him to go on to my website onto the blawg and right click images that they like and also processes put it in another photo so I'll get a gauge of how much black and what I'll do but also like to like that's my artistic freedom to like that and I tell them that, you know, I mean, I'm gonna feel what it mean should be in the right sort of color space or black and white or tone. Now the good thing is and I just do it now it is extremely where I would honestly say it's extremely rare our client would ever come back and want that image changed ever or even requests the image you know, if it was black white in color now we do because we have in our process before going toe album and when we're doing the design, if we find that the images aren't matching up you know that they may be in two colors and two black and whites where I would prefer to be just seamless and just color or black and white or a vintage time through all those images then I will talk to the client state look do you mind if I change this back or that's when the client could say you know what? I love that image like him what but could we have that in color and that's when I'm getting that klein involved involvements I'm never saying no to the client but the client also not asking so yeah richard marx had asked do you have a rule that establishes whether you render a photo and black and white or color you know you're kind of talking about the percentage of the hole but how do you decide how do you I get a feel like you know, like more further journalistic moments you know and if there's distracting colors you know just rip them out just make it simple you know and just take it out so I think that's you know for me it's really simple but saying that like I just I've been doing it for a while so yeah that's a feeling yeah feeling in some of the vintage times that we use you know we wouldn't use it in certain areas of the wedding but we would use it in others because it lent itself to it as well yeah and also probably you know, the other thing is that sometimes like you know we're not cheating in ideal situations you know, like we have challenging locations and often those vintage times you know well given new life to it you know and well we got like like I developed like, you know, I think six hundred pre cents now you know, so there's like, you know, four hundred different looks and I go to those looks because it enhances those you know, locations you know, it makes something ordinary extraordinary you know? So it could be a really great asset, you know, just to give you quite like a quick couple examples um you know, just going and bringing out that's clouds now I was having a conversation were rushed this morning and he was saying he loves seattle, which I do as well somebody amazing spot and you're saying but are clouds on very, very defined and if you look here is that they're not really defined eva but using dodging and burning techniques you can actually bring out that and make it a little bit more mysterious and you know, so you sort of dark in here and you lied in there, you know, and do that and it's sort of a feel sort of thing again, you know, I'm shaping the image I'm communicating what I want to communicate um also again just change it to a vintage time um you know it's sort of two this is one thing that's been challenging to our minds and thinking about our client is in cornyn is that think about the client's perspective on what they would value that image ok and let's think about the value as we went along. So this is the role far. Okay, now think about this. What value would you put on that image from a client's perspective then just using a preset taking it to there then maybe using a texture, dropping it in with the border and then that you don't mean and so you could just have your own look, this is just one look, you know, I mean so but just think of the perceived value between that image and that role image, you know? And this is what? Yeah, oh, I see said for typical weddings you have but four hundred images or thank you. So do you d'oh? I mean, these aaron craig, I think you know, they all look like that that they they you prove foam and and then how do you I do with them? I gather you're something this here. So I get from that to that and that is done in like a millisecond right from yeah, so that's just a preset and I'll show you how they like they work um and like I say, like, you've already if you you get the free ones and you can always just by, like, our whole collection, if you want, you know, and then you can just have all our looks that we just using this to you, and then you came batch things to also do textures as well, you know, it's a little bit harder with borders, but it is possible, but we've found that will be now to create some really cool borders within role, you know, that it really great and just really simple. All right, so one of the things that you call so important just talking about role is the difference between raul ingi peg, I always shoot roll always, and if you're not, I really encouraging you two train swap over from j peg to roll you will get to understand short lay in the next session. Why that is because the quality is so fast, period if you're doing actions in photo shop and you're just using a mode and you working in j peg, what happens is that you create gaps within your images, often at screen resolution, you're not going to see those gaps, but when you go to print something, there is information missing. And so thinking about, you know, your role workflow and and thinking about how you process your images you know what? Color space and what bit death there in it's a really area where you can improve so much and I guess like I had this ten percent rule and if I can improve everything that I do at every stage along the way by just ten percent that's a huge difference in quality at the end remember if I'm looking for something about trying to differentiate myself in the marketplace producing fine our prince and something amazing that's one way of doing it for sure all right, so now creating like workflow efficiencies is really important because could you imagine, like, working individual images on four hundred, six hundred images? It's just can't do it, you know? I mean, like, like like me like learn from my mistakes, you know, like don't do it, um but one of the things we just do is I'll show you how you can just process for thumb now, martin, you know our wedding to a certain level and then you can go into do dodging and burning in a cr and everything's done there on donu khun output it way have like like we found that we need images for different purposes, though we need one for the block we need one for the slide show we need another one to do album prints and so why go back every time to actually produce another run of those image why not do that all at once the same bridge this is in for a show but it's so it's like a like a image processor script in bridge but on steroids yeah and this is a script that your company studio impressions created yeah yeah and it's for selling your website? Yeah, under which product yeah it's called quick flight quickly and uh and I'll show you how it works like because it's just so amazing because one of the most important things to do as well is water marking your images and so one of the things that we do is just sort of run it through that and then we can have different things for slide shows you know, screen or blawg and also proofing as well so we could have like a big artist proof go through that that image. So any questions? Absolutely so marcus we had talked about black and white and the question came up from a wedding photographer who's from california and says could you talk about color? Do you look for complementary colors at your wedding locations and how much thought do you give to color with the images you capture? Yeah colors really important you know, like because the bride's gone too a lot of times great lengths to think about colors for a wedding special if she's got a planner involved as well you know they're going to be thinking about what matches and and so even from the bridesmaidsdresses as well and so yeah like I'm really looking for color and complimentary things again you know, like if it's an important image and you're in a situation where you know like everything's working except they may be a vase or some flowers in the corner you know and it doesn't really complement but you need them there or you have a good time to move them you can know now that you can change the color of few details as well um back to when you're talking about the shot in the church samantha is wondering what do you mean by the quality of light is still there even if it's a damn can explain the difference between quantity and quality of really yeah quality of light is where you know like that it's the way it's falling you know falling onto the face like one of the I guess you know the artists that I love painters obviously you know who is rembrandt you know and if you study rembrandt lighting where you know generally you know it's lit from the side um and you get a shadow just here like with the nose and justice tiniest little highlight just there under the under the socket and so that's what I'm looking for its light like that you know or in some cases just flat lighting now you know so you can get that lot anyway you know from any source but it depends on you know where the brides you know gene is facing and so you know, what I noticed yesterday is that sometimes I asked her to move the chain, you know, because it was just sort of get that little catch light, you know? I mean, I was looking for that, you know, and it just becomes intuitive now you have your own style of light you know, there's a lining so like where you like things um and you know, like when we had her up on the platform and the light sort of came and it was just go just the most gorgeous like you know I mean, you know, it was just so excited I you know, I don't know if I showed it physically but you know, I was just like, so excited going oh my god, this is just amazing, you know? And I feel like just well, that's when it all comes together and you know, like you celebrate, you know, but yet light so it so it doesn't have to be a really, really bright light source, you know, hopefully we'll try to show that later today you know we'll be I want to look for really deemed areas I'll shoot at twelve thousand eight hundred s o and show you that light still maybe we'll just to even try to do it with the torch or something like that you know and, uh and just use even like some softness on that on the torch said like a pocket so we could do that for sure there's a question from phillip bamber photography who'd like to know what you do about mixed lighting situation it's because I know we talked about that yesterday a little bit but in all the various places you go I know you said practice practice practice is that the answer? Yes now you know what? Like ok, first of all, keeping it all really simple is important, you know, especially in your work flow situation and I got to say, you know, like that's where black and white can work really well, you know is that you just make it black and white and then if the client then wants it in color, then you need to do the extra work now what's really great we've like light ring for and cia six now is that you can actually brush in, you know, like the war and change the white balance off those areas so it means that you could actually match it so it's perfect now other times you may want to use it as your advantage like if you're using like some flash and you like my use some colored gels on dh it's different to sunlight then you can create like two different looks that could really bring at that center of interest so sometimes it can actually be an advantage right? Well you actually the rest of their question was do you find yourself making these images black or white or do you have a way of working it out in color so yeah but you can definitely working in color but only if you need to thank you very nice yeah um to watermark or not to water mark what do you want a mark on yeah do you do social networking on lee and yeah the ones you give to the client not wanted so let's talk about yeah that's a great question that water marking ok a lot of photographers out there would say don't watermark anything all right now those photographers often end up with their images on other people's websites for one you don't I mean um way someone's just unfortunately it's a sad part about industry where they're blatantly taken them and put him as and selling them as their own work that's one thing but you know like with pinterest and so many other forms you know is that like say frandsen where you know we'll have our wedding featured on june bug weddings you know, a great great block, you know and say for instance they you know, if we don't have a watermark on there and then it ends up in five sort of times down the road and it's on pinterest no one really may know where that came from they may refer back to jean bug but not to our website, you know? But if I watermark is there you know it's important so what if like, you know, a bride in your area is, you know, looking at all these wet photographers websites and, you know, trying to get styling images and thinking about the starling of the wedding, you know, and copying? And if they keep seeing your logo by the time when they think about are going toe, find a wedding photographer there seeing your logo all the time, you know, s o I'm not saying like, you know, give the client's images with water marks, but if you're putting stuff on your web site or you blogger and things like that and they can easily just write, click and say them like I think they should be what amount? Because it's a it's an avenue, that soldier that happened to me, yeah, they said no, no water mark and then I just randomly pinterest myself one day just to see and they were there is no water mark, but if they loved it in the comment, but when people start pinning them, they don't have to have the comment down there. Yeah, exactly. And it is that, like it's a challenge, you know, because like, you know, one of the things that you don't want to do is miss an opportunity to get your name out there. But you, you know, there is no right or wrong. You just have to make a decision for yourself in that situation, but where you can, what a mark. I think you should be doing it because it's not going to hurt it really is a snow is like it's, not really huge if it's just subtle, you know, and that's what we do without what a market is just really something subtle people will see our images over and over again, and it just implants into their brain is that I've got a contact studio impressions, you know, because I keep seeing their images every way.