Back From A Photo Trip And Editing with Capture One
Billy Newman Photo Podcast | Back From A Photo Trip And Editing with Capture One
If you’re looking to discuss photography assignment work, or a podcast interview, please drop me an email. Drop Billy Newman an email here.
If you want to book a wedding photography package, or a family portrait session, please visit GoldenHourWedding.com or you can email the Golden Hour Wedding booking manager here.
If you want to look at my photography, my current portfolio is here.
If you want to purchase stock images by Billy Newman, my current Stock photo library is here.
If you want to learn more about the work Billy is doing as an Oregon outdoor travel guide, you can find resources on GoldenHourExperience.com.
If you want to listen to the Archeoastronomy research podcast created by Billy Newman, you can listen to the Night Sky Podcast here.
If you want to read a free PDF eBook written by Billy Newman about film photography: you can download Working With Film here. Yours free.
Want to hear from me more often? Subscribe to the Billy Newman Photo Podcast on Apple Podcasts here.
If you get value out of the photography content I produce, consider making a sustaining value for value financial contribution, Visit the Support Page here.
You can find my latest photo books all on Amazon here.
Produced by Billy Newman and Marina Hansen
Link
Website Billy Newman Photo http://billynewmanphoto.com/
YouTube https://www.youtube.com/billynewmanphoto
Facebook Page https://www.facebook.com/billynewmanphotos/
Twitter https://twitter.com/billynewman
Instagram https://www.instagram.com/billynewman/
About http://billynewmanphoto.com/about/
Billy Newman Photo Podcast Feed http://billynewmanphoto.com/feed/podcast/billynewmanphotopodcast
109
Hey, what’s going on? This is Billy Newman and you’re listening to the Billy Newman photo Podcast. I am recording on the 21st of September 2017. I’m hanging out in the truck studio right now I got my computer out and the camera bag and stuff. I’ve been going through some media stuff. I’m surrounded by flies. Right now I’m out in the country. I’m a window up and I was sitting, I was eating some lunch, but it’s strange out. Wherever I am. There’s like a gazillion houseful. I think there’s one on my phone right now. There’s like 15 that are just swarmed into my truck, I haven’t really, really dealt with that before. They’re all over the place cannot be a little flies all over me. So today, I’m working on a bunch of photo stuff, I just got back from a big photo trip, which is really cool. It’s why I haven’t been doing a podcast for the last week, week and a half or so two weeks. And I have a bunch of recording I need to do with Marina to sort of debrief a bunch of the traveling stuff that we did. And some of the photos, things that we were trying to work on some stuff, we struggled with some stuff that that went really well, for us, photo-wise, it’s always interesting how that is. And it’s kind of a difficult thing when you go on a photoshoot, because there’s just really a lot of parts of it, a lot of pieces to a bigger road trip like that, that ended up kind of not coming together for you the way that you want. It’s difficult, you can kind of you can sort of what did, what did ancel atoms call it pre-visualize, you can pre-visualize to an extent of the photos you want to make. But in a sense, I don’t know, I really like that part where you kind of engaging with some new thing that you don’t quite understand or haven’t really seen yet, when you’re taking photos. So I like the pre-visualization part of it, it’s just as I’ve done that, and on this trip and part, there’s parts, or there’s times when it just doesn’t really come together like you, you pre-visualize what was supposed to happen, but then the earth didn’t, didn’t do that part that one day you were there. And that’s kind of an interesting piece of sort of the challenge, like the fine art photography stuff. So you have to you have to pre-visualize, but then you have to wait and wait and wait for that to actually happen. You know, you pre-visualize, I want a beautiful sunset and a fantastic mountain at a great angle in front of me with fantastic light, you know, at whatever time of the day that would be you pre-visualize that I think everybody does, I want this perfect image that everything fits inside of 15 millimeters of lens that I’m using, you know, and there’s places in the world that really provide that exquisitely like, like the Yosemite Valley, it seems like it’s built to be had to have photos taken of everything’s just far enough away that it fits within a standard lens just perfectly. It’s really fascinating how that is. And it’s kind of built to be that way over time, too. But that’s one of the things that’s so that’s so magnificent about Yosemite and above a handful of well, you know, a lot of those other places that have been national parks or monuments that have been created is that they’re just really stunning in some aesthetic way that it’s kind of hard to pin down exactly, but it’s really fascinating, you know, when you see, wow, yeah, like that makes just such an incredible picture, just the way that it is you don’t really have to twist or bend or lean or something like that. It’s just right there in front of you everything kind of squares up and lines up to be to be in the image but, but there’s those situations, and that’s sort of photography on rails sometimes. But when you’re going out and you’re kind of just traveling around and you’re trying to find stuff and find events to photograph or events is sort of a strong word, but you know, you’re waiting for sunset, or you’re anticipating sunrise, or you’re even you’re just anticipating, you know, nighttime to take photographs, but then it’s cloudy, you know, I happen to us out in the Alvord desert for a bit of the time that we were there. But there’s a really cool, big photo chip did a lot of work. And that’s kind of a cheeky thing is uh, you almost want to say vacation sometimes because it’s not exactly the same thing you do every time. And it is traveling but it’s really just a road trip to bring media equipment with you so you can produce something that you have planned. And and that’s part of it, you know, where you want to try and get some work in the can, instead of just sort of exploratory stuff that doesn’t really have any definite ending or definite like project that you’re trying to produce for. So I like having some constraint maybe you would say but just like some necessity that requires you to produce something with with the time that you’re out. So I had a great time being out and traveling we took off after the university football game that it did some photo work at, and then we jammed out and we went over to
Central Oregon, we spent the day road tripping out toward the allowing mountains and imnaha or imnaha and na I think I’m putting the emphasis on the wrong syllable. I think it’s more of an Indian word. If you were to think of it like like a Nez Pierce language. I think they ride a little softer on the end. At least than I do with my I don’t know my Western accent you know it’s kind of funny if we’re talking to accents again still, there’s no about that we stopped by the Ottawa he River. And it’s funny though why he river was named the Oh what he because some some hillbillies back in the day back in like what 1870s 1880s I don’t know when it was but there was a Hawaiian, there’s like a group of Hawaiians that had come to work on a railroad that was being put in, in that part of Oregon, Idaho, Nevada, on this river, and, and I guess one of the Hawaiians died. And so our hillbilly ancestors didn’t know how to pronounce the word Hawaii. They thought that was too or they didn’t. They just didn’t know. It was just some hillbilly, you know, railroad worker that said, Oh, wha he is that man from a wahi. shoe. He passed away. Let’s name this river after him. So they named it the Oh what he river, but it was actually after a Hawaiian guy who was out there. I don’t know just something you read on a plaque when you’re on a road trip out there on the what is it highway 75. It’s like one of the most desolate places on earth. Once you get out there. It kind of goes from Nampa, Idaho, and it cuts back in through the Hawaii Canyon area, which is really beautiful, fantastic visually to see. And it’s kind of all part of that. That Nevada, Idaho, Utah, high desert region that you start to get in where you see a lot of like dried Pleistocene lakes like playa is like the Alvord Desert, like, like the Bonneville Salt Flats is sort of like that. And then, you know, like the Black Rock desert, but there’s lots of places out there where you just see, you see where there would have been a lot of water deposits way back when the climate would have been quite different. But now you know, it’s it’s on the far side of the rain shadow, it’s at a higher elevation. And the weather pattern doesn’t doesn’t drop the water that is used to deposit into the watersheds that seem like they’re out there. So it’s interesting when you look at that, like when we made it to the Alvord Desert, I know I’m jumping all over the place, the real story will come, you know, when I podcast with Marina. But when we were in the Alvord, it’s interesting, because you’re out on that playa. And then you’re kind of looking around you think, Oh, interesting. Like this is a hole. This is the base of a watershed that’s all supposed to feed to this low point here as the base of the steens mountain; I think it’s supposed to dry in from part of the Steen’s on that side. But but a lot of that goes westward, a lot of the water that follows things would all fall West and fill up the Harney lake. And now here like was used to be huge out there. That was kind of the watershed of the Steen’s, there’s a few creeks that run off the east side. But really, one, you’re dealing with a huge rain shadow now. And then the other side is that I think it was the trout Creek mountains that were a little further south, as you kind of get to the Nevada border that were supposed to dry in as the watershed that would fill up the Alvord Desert. And yeah, we just don’t see any of that anymore. Hardly any rain out there of any kind. I mean, you see that out at the Black Rock desert also, which is just I think one group of Hill south, when you get those black rock mountain, the Black Rock, I don’t know what’s out there, I’ve not actually been out there you go. But out in the Alvord, it’s really interesting kind of being on that range outside being in the big, empty playa. And then kind of wrecking recognizing that way back, or maybe not even that far back, it used to be a more active, more active watershed that kind of drew drew drew water into that area, that it’s interesting all over eastern Oregon, you see that like when we were out, and heart mountain on the rabbit hills in March, there’s a lot of that like a few pictures that I have that you see the you see the contour of the land and how it used to be a huge lake that filled up, I think back in the Pleistocene that filled up that whole part mountain plush area. And there’s really just a ton of water out there. So it’s interesting when you get out out to Eastern Oregon can really see the changes of water erosion on the land. And and how that worked over over a lot of time is that another plaque I read was that when we were in Hells Canyon, which was tough, like I was saying earlier, if things come together and then not coming together,
they came together, we made it to Hell’s Canyon, and then a big fire started up in Riggins, Idaho. I think it was like just on the far side of the valley there, but a fire popped up. And then the smoke kind of dropped into the canyon. And so you couldn’t really even see across the canyon to the seven levels, or you could just couldn’t see any of the immense sadness of the house Canyon area or the Snake River at the bottom of it. You just saw smoke, which anybody in Oregon on the west coast in August kind of understands what seeing smoke was like so it wasn’t quite what I was looking for. And it sort of hung out there for a while, you know, just kind of blow around and blow within where we want it to be. So it’s kind of interesting in how you set it up. You get there, but then some other pieces maybe don’t come together in the natural world that is like smoke or you know Riggins Idaho and all the effort they have to put into fire to fire. Shoot, I don’t get my photo. Darn it. So yeah, a lot of photo stuff up there. But when we were up there, I was looking at it said that the Snake River, you know, like cut the Hells Canyon gorge out. And it was, I think it was deeper from the top of the summit of the mountain to the bottom, where the valley is, I think that was deeper than they say the Grand Canyon, it’s kinda interesting, because it comes up to the top of the mountain and then down to the base of the valley, it’s a little different than just being flat and then eroded down into the earth like what we see in the Colorado River, when it rides through the Grand Canyon. But really cool area where we were at got to travel around, got to take a ton of photos got to work a ton on the Sony equipment. And I’ve been trying to pump that up and get all the gear and all the pro stuff set up I got a battery grip finally for the seminar, it was just fantastic. I’m really digging in the battery, you know, the the things that I noticed in about it, the pros is like super well, high quality, like high megapixel images and raw files, which is really cool. And like a total, at least it’s fine. It’s the first time it’s kind of in the range of modern professionalism. You know, like when I want to be talking about the files that we’ll be able to make, I can make RAW files that are 36 megapixels, that’s way more and way bigger than things I’ve been able to do in the past. Like when I worked with a D to h that was four megapixels, I couldn’t even, you know, hardly make an eight by 10 of that without getting pixelated. So it was really just, you know, fun to put photos up on the internet with which is probably all that I ended up doing. But it’s really cool. Having this option of really getting to print big if I want to the next part that’s a pro is low light capability really fascinating. Really amazing that it’s just like the the new generation technology does so much better. It’s really the first time that I’ve used the camera. And it seems like you can capture what you see with your eye, at least when it comes to low light if you pull the ISO up high, which I’ve seen in other like Canon cameras in the past and Nikon has done a great job of getting past 100,000 ISO but but really with the a seven s the a seven a seven or a seven or two as you know all that though Sony line, the whole full-frame Sony line seems to just be killer with with the way that it’s able to render those images that you take with the highest so. So that’s what’s been really cool. The cons of it, though, sometimes is that because it’s more like a device, like I talked about before, the battery’s running all the time. And so you really kill through one of those more simple batteries. If you’re working with it, like if you’re taking a lot of photos, or if you’re shooting videos, you’ll really grind through a battery. I think I had moved through quite a few, like when I shot a wedding a couple weeks back, we did a couple of weddings, and like we just really killed through those batteries that have a battery on a charger. So I got the battery grip, which is cool. Let’s see throw two batteries into it. And it also kind of fills out the size of the body of the camera a little bit more if you’re looking for super compact, it’s great probably the way it comes, but I was always kind of happy with the bigger more square body you got with d3 D two HD four D five, you know the, or the what the one dx one DS mark for what you know, whatever it was the big Canon camera, the big professional Nikon camera, I really liked that that bass grip and I liked
being able to use that bottom grip to roll over into portrait mode and then still have like a shutter button and, and like an aperture shutter control on the back there too. So all that stuff was that was part of why I wanted to add on to it a little bit. And I gotta get another battery. But it’s been awesome. Having that it’s, it’s cool, kind of filling out the camera a little bit more. It’s like a full professional piece. But with that, I want to get an L plate. I don’t know if you guys know what that one is. But it will you know, it looks like an L it’s a metal machine bracket. And it’s got two tripod holes on it. One of them’s on the horizontal and one of them’s on the vertical. And what that allows you to do is well, I guess actually you’d say it has three tripod holes on it, or one of them’s amount but you mount it to your camera and then you got the option of putting your camera on your tripod in portrait mode, like where it’s just set up straight on the tripod, vertically, or you can put it in landscape mode where you can set it horizontally. And and take photos also seems like a small thing, but it changes the way that your tripod functions a lot and it’s really kind of an inconvenience with a lot of tripods, they don’t really let you swing 90 degrees to the other side, you know around to kind of get you into that position a lot of time. It’s kind of interesting, like when you really start working with tripods a lot. They’re sort of limited into the range of motion that they can really let you do, especially when you kind of want to quickly move from eye level to really low or to really high. Sometimes it helps, but sometimes I don’t know if it really helps that much. But I’ve been trying to get into shooting with a tripod a lot more I really love the carbon fiber man fiddle legs that I’ve got, I want to get a new head that after this trip I’ve been working with like, it’s like a pan and tilt head. It’s that three axis photo head, you know where you have those lines. knock offs, you have to roll it and then pan it and then lock it and then you have to roll this knob. And then you have to like tilt, or, you know, your, I don’t know, what does what design is that an airplane term on the starboard side, that’s different to that’s boats. So what you have to do though, is just kind of get it set up on the thing. But what I’m trying to switch to is a ball head like the man freddo ball head that goes on the top, where you just kind of drop it loose, and then you move it to any position that you need, and then you lock it in again. And it might be a little faster for me or for some of the stuff that I’m doing. But yeah, I’m trying to get a little bit more patient with some of that. And I want to get into more of the long exposure stuff that I can do with the wide-angle lenses that I have for the the seminar to get into the the Astrophotography, or just taking photos of the night sky and trying to put some art together that sort of mirrors some of the intensity of the light that we’re picking up in the night sky and some of those stars and then some of the interesting landscapes. I’m really trying to figure that out. I tried to do a bit of that on the trip, but a little like I was saying, we got hit with a week of September weather pretty hard. So probably like most folks have been noticing it’s been mostly cloudy, but it’s also added a layer of photos I didn’t think I was gonna get, which is some of those mid afternoon textures in the sky that look really cool. Like right now, I’m even looking at, and I see a layer of what I was trying to go back to cloud school so I see the cumulus clouds. And then I see like a layer up from that which is cool is a Nimbus not serious yet, but maybe it’s not. cumulonimbus, those are the other ones. alto Cirrus Cirrus cumulus nimpo nim Nemo cute Hughes shoot, I don’t remember. But I’m looking at some wispy clouds, some clumpy clouds, a couple different layers. It looks really nice. And it’s been cool to kind of get some photographs, some photographs of that also, especially like out when we were traveling through Eastern Oregon, there’s so many cool unseen landscapes out there. And I’ve always been the sucker for the the high desert view of stuff. So the stuff that I’m working on the day to get past the trip, and travel and photo stuff. What I’ve been doing since I got back is I’ve been trying to take all the cards, all the SD cards that I shot, video and photos on. And I’ve been trying to ingest all the that media onto a hard drive, and onto a second hard drive and into a catalog. So I can go through and start sorting all those images, and then pulling out the photos that I really like and then trying to edit some of that content together and then schedule it so that it goes out and some people see it sooner or later. So that’s what I’ve been trying to work on. And it’s kind of a big process, I think it’s like, it’s like half a dozen, four cards, which probably ends up being proud of like 50 gigabytes, something like that. Maybe it’s more than that, like when the when I’m done with it, probably including video, maybe it is more than that. So it was cool, going to shoot and it’s cool. Getting to save those files, it’s the interesting thing that like with a newer camera, bigger files, it means it means bigger all the way down, like you know, they’re bigger files on the camera, the bigger files on your hard drive,
they’re bigger files when you take you know, 3000 of them. That’s way bigger. It’s way bigger than the other one, it’s exponentially larger. Well, it’s not exponentially it’s
it’s my scale, but man, does it really increase when you have each, each picture ends up being four times bigger than the photos you used to take. Wow, does that get way bigger, when you take 3000 photos of something that’s four times bigger than it would be, you know, the space it would have taken on the computer back in the day. So it’s interesting, but it’s interesting getting used to but all that kind of goes to trying to set up the hard drive space that I have I use an external drive a lot of the time and you know, realistically I use a one terabyte external drive, which is sort of It’s fine, it’s a little bit of a weak drive, I want to get a I want to get a pro drive, I want to get some bigger space really, you know, I have a four terabyte at home that that backs up what I have here and then and then a lot of extra stuff in duplication. But then I’ve been putting all the videos in media and stuff from the trip on this drive and in the catalog here, but I’m trying to go through and I’m trying to strip all the software from a computer that I don’t need or don’t want. And I’m trying to add in some stuff that that could be a little bit more useful. And so one of the interesting things is I was trying to add this this new software, the capture 110 Pro software I guess it I don’t know much about this but I know that there’s the phase one camera system out there it’s supposed to be like a super high end sort of medium format digital camera. I think they have like a medium format digital back system that goes on to other cameras or is in concert with other camera manufacturers. I don’t know I don’t really know that part of it, but I’ve heard of the phase one and how into that people People are in LA, or at least into that in in the scene of high end editing and photography and adjustments that they have. But they made like a software to do tethering and to do like additional raw processing and editing, that sort of mirrors some of the stuff that Lightroom does. But I’ve been interested to just try something else besides Lightroom, for a little while, I have no idea what I’m doing now. But I thought creatively, it might be interesting to try a couple of different things out, there’s some other software out there called affinity that I really want to try also that some photo editing software that is really powerful on the iPad, and I guess has a really powerful desktop version also. But given that I already have, you know, the already I already have Photoshop, and like, you know, so it’s not, I’m not adding anything I don’t have, what I’m trying to do is just sort of see if there’s another workflow or a way to look at some of the stuff that I’m doing that would feel different, or would maybe lend me to discovering another path. And another kind of creative look that I get add to the pictures. So maybe there’s something in there with that. But I’m trying to get into this capture 110 Pro software, this phase one, capture software, and editing raw processing software that I picked up, you can download a free copy, I think it’s like, you know, it’s like a 20 day trial, something like that. And it’s interesting, too, it only works with some camera types. If I understand right, well, you have to download the version of it specific to your camera type. I don’t, I don’t know if it’s for everybody. But I know it’s, I know that the Sony cameras have a version made for it to whatever. And that means I’m not sure if it’s the raw file that has to be built for or if it’s
the
camera profiles that it was already built for. But I think it does, it does the Sony cameras. And it also does the the phase one digital medium format back cameras that they build, I suppose. But it looks really technical. When you get in there like color correction systems, that kind of local adjustment stuff. I don’t know, it’s kind of interesting, like sorting through and looking at it, but but it’ll be interesting. It’s just sort of an experimental thing, what I’m really working on now is to try and rebuild, like a new Lightroom catalog, like when I’m working in Lightroom. And I’m working on all the photos, there’s one catalog I have, that’s huge, it’s enormous, it’s really supposed to be an archive of all of the images I’ve made. And I tried to ingest all of those into Lightroom and have it kind of sort and catalog all this photograph. So I could have a backup of them that was a little bit more structured, by date. And by system than then, you know, whatever kind of rolling system I had had, in the years past from a decade ago back whenever I was in high school, or whatever it might have been. So I’m trying to kind of redo that a little bit. It’s gotten really, really enormous. And I really don’t need all those sodas with me, what I want to focus on is what I’ve done in the last two years or three years or so, for me, maybe maybe all the way back to like 2014, I think it’s just, you know, it’s the film roles that I was really into during that time. So it shouldn’t be too many files really to deal with. But what I’m gonna try and do is sort of limit that down. So I have all the portfolios, all the photos, I want to grab anything I’m going to put up on social media, from a portfolio perspective, all of those few 100 photographs, they’re totally going to be there in the best way that I can have them available to me in the Lightroom catalog. So I’m gonna try and sort that out today, then I want to have all the photos from 2015, all the photos 2016 all the photos from so far in 2017 in a catalogue that I can work on. So I can kind of go back a couple years if I need to, with, you know, some of the some of the photos that I want to edit on. Or I can only focus just on like what’s around right now. But that would really limit it down to a way smaller and more reasonable amount of images that I can kind of sort through. You know, it’s kind of difficult, like when, like if something jumps back to the beginning of the Lightroom catalog, it’s back to 2002. It’s back to 2000. It’s back to like, I think some photos of me in middle school. It’s It’s astonishing to see you know, you pop it is that a classmate of mine from seventh grade. What does it do in here? What am I doing? Is this what I’m working on right now. So
on a level, it’s
almost distracting in a sense, or, you know, you go back and you’re like, wow, this is like 2000 16,007 photos. Do you even really need a look at these right now. It’s great, I have them it’s great to have them archived, but I don’t need them in my my clear and present danger of, of, you know, my task list of the stuff that I have to get done. So I’m trying to sort some of that out. And with that kind of the computer all over on its own too. I’m trying to put some audio software on there. So I can do some, some podcasts, post-production and rendering and posting stuff from my mac book. I have a whole PC setup at home with the mixer board and the mics and stuff that plugs into the audio interface and that all runs through audition, but I’m trying to do some stuff on the Mac Book too. So that while I’m out and about kind of like this, I can I can still be producing I can I can cut I can record stuff, oh I can put it on the Mac I can clip it render it and whatever it is and and you know try and put it together. So I’m trying to sort out a few of those things I tried to get some writing software to I mean, I know like pages and word work great for everybody. But after college after school, you know, when you’re just under the demand of putting together a 500 word essay for Yeah, some dopey 90 minute class twice a week, the use of writing sort of shifts a little bit, I’m not really putting together single, here comes a Jake brake. Nice little orange, gravel check just drove by me that’s, that’s the rottenness of a podcast from the truck studio was talking about but capture 110, putting audio stuff, editing podcasts, getting the Lightroom stuff set up all that’s happening, the computer setup, I’m trying to get it going so that it’s kind of stripped-down. And that everything’s kind of all my ducks in a row. That’s what I’m going for. I want to line it up and knock it down. That’s what I’m trying to do. I’m trying to get a calendar set up in a solid way. So that I have when I write my schedule, like a journal it out Monday through Friday, Sunday, Saturday, Sunday. And then I’m trying to mirror that over to like a listing of what already includes like repeating calendar events for me, but I’m trying to go through each week and like kind of specialize it. So then I go through, I say, Okay, I have this task and this task and this task and this reminder. And then I have two days to do this. But I have to be here on this day. I’m trying to put all that out, you know, it’s not repeating events. And it’s really something, maybe this changes, maybe you guys have different kind of I don’t have that many meetings, I don’t have that many absolutes, or at least not to the point where I can’t keep track events like that one on Tuesdays. And it seems to be in the same spot. Okay, well, I’ll just kind of remember that. It’s like when you went to school, you don’t need a calendar of appointment dates, you know, a day planner to keep you going. But the good students, they do that. So what I’m going to try and do is be a good student is trying to try and keep everything straight in my head and just sort of intentionally forget, if it doesn’t seem to be prior enough priority for me to hold on to for two weeks in a row. I’m going to try and change that around a little bit. I want to I need to get some some tasks finished. So that’s part of it is task oriented. Get this time get this done, make sure that we actually keep getting this done. That’s the other part. You know, like the website, I still need to finish the website. It’s been a couple of weeks. Oh, the distractions of traveling and taking photos and doing stuff. You thought you’re actually supposed to be doing super fun, really glad I was out and traveling stuff. But yeah, now back home. I’m trying to sort media and put stuff together and get my get my stuff together for fall. I think it’s gonna be a good fall. Looking forward to 2017 man. So I think that’ll be just about everything for this episode of the billion human photo podcast. Thanks for listening to me talk to myself while I sit in my truck on my lunch break. While I work on my computer and look at a book. It’s been pretty cool. Glad that you enjoyed this episode of the building and photo podcast. You can find me at Billy Newman on Instagram or you can see my work at Billy Newman photo calm that’s on the world wide web. And I think that should be everything. So yeah, thanks a lot for checking it out. talk again soon. Bye.