Speedlight Magic

1. 1 Introduction: Hey guys, welcome to this tutorial about a speed lights. My name is Frank door off. I'm efficient and celebrity photographer based in the Netherlands, and we're specialize in teaching workshops and creating tutorials. So let me start this video by telling you what we're gonna do. There are two parts. One part is with the model where we show you some different lighting setups and some techniques and tips and tricks. Of course, that's the cool stuff, right? And there's the part where we actually give a lot of attention about the techniques. And the techniques are, I think, very important. But first, let me start out by telling you guys what is the speed light. Now in front of me, you see the well, probably the well-known speed lights, right? The system strokes. Those are actually the speed lights that you all know. But this one, this is already a little bit bigger. And in all honesty, this video is not about these tropes. This video is about all the strokes that work with HSS, high-speed sing ETTL, metering through the lens. And of course, sometimes have the option to Zoom. So it's literally a tutorial about all the modern strokes that have those extra options. Are you guys ready? Let's start. 2. 2 ETTL: Now of course, when you meet her strokes in the studio, we often do this with a light meter. You probably noticed, right? You hold it in front of the area and correctly lit and you get the proper reading from your light meter. And it makes setting up actually very easy and very fast. And you can also recreate those setups very easily the next time, because you're using a light meter, right? Continuity. But speed lights, how does it work with speed lights? Well, of course you have the manual mouth and in all honesty, this is the mouth that I mostly use because hey, manual, you have everything under control. But there's also something called ETTL. And there are many different terms for this, but mostly use this ETTL. So what does it mean? It actually means the same thing that your camera does. Its looks through the lens and it determines how much power is needed to light your subject. And in all honesty, it's a little bit like Harry Potter much magic. There's one thing you do have to realize very, very quickly. And that is that ETTL always, we'll try to get the scene to 18% gray, literally the same thing that your camera does. So where does this go wrong? Well, when you're outside with the sun and you just want a little bit of filling flash. This works like a charm. You don't have to set everything up. You just correct it a little bit later in light room or you prefer to raw converter. But in a studio, ETTL can bring you in a lot of problems. Think about this. It will always try to create 18% gray. What about a model against the really dark backdrop with strong backlighting, right? You want to make sure that I begged lighting creates that beautiful atmosphere, but you can read things, something completely different. Ettl, everything 18% gray. So it will try to get all that black into 18% gray. Determining that your side lights or your excellent lights or your backlighting will totally blow out your model. So that's not something that you really want to do. Now if you're more into the safe setups like e.g. a little bit of light from maybe 45-degree angle and everything is pretty flat. Ettl can work like a charm. Now if you still need to correct a little bit in ETTL, that's no problem at all. You can still use something called flash exposure compensation. So what is flash exposure compensation? You remember probably that when you want to shoot a snow landscape on your camera, you have to change your exposure compensation because you have the same problem there. If you shoot the snow landscape on your camera, it will probably turn out 18% gray. And if you shoot a black cat in a black mine, it will also turn out 18% gray. On your camera. You use your exposure compensation to actually make your exposure darker or lighter. And you can do the same thing with your stroke. It's called flash exposure compensation. So you can set your strokes a little bit harder or a little bit softer. In essence, it works really, really simple. The only thing you have to remember is that with studio strobes, we do all the adjustments in one-tenth of an f-stop on your strobes for speed lights, it's often one-third. 12 word is actually easy explained. When you look on your camera, you don't go in one tenth of an F stops, right? You also go into thirds. So that's why the speed lights are actually mimicking your camera. So in short, ETTL makes it possible to just point your camera and everything will turn out probably okay. And that's where the problem lies. As soon as you have setups that are a little bit more complicated, ETTL will mess up in certain areas. You can still correct it with your flash exposure compensation. But in most cases, it's just easier to switch over to full manual mode. And in this tutorial, of course, we're going to show you how full manual works in the studio with our model. But for now, just relax. Full manual is absolutely not difficult. It's actually very easy. It's probably easier than exposure compensation and flash exposure compensation and ETTL and just figuring out what happens, just go for manual. So ETTL, metering through the lens makes everything 18% gray. 3. 3 first and second curtain: Now, you already heard me talking about curtains, right? Curtains. Theatre curtains. No, not yet occurred. And the curtains inside your camera. And at this point in time, all cameras still use Kurt and some will use digital first curtains. In my opinion, just turn it off. In most cases, it doesn't really give you anything extra in it only gives you some problems. So I would prefer to turn the digital stuff off and just use your normal Kurt and settings. But what is that curtain setting now exactly? Well, when you start working with speed lights, you will get this really weird option. Do you want it to fire on the first curtain or the second curtain? And this is where a lot of people go like, excuse me, curtains, bedroom. What? Well, as I explained before, when you take a photo, the mirror flips up and let's forget about a mirror. We now mirrorless mostly, right? So first, the first shutter curtain opens, exposing the sensor, and then the second shutter curtain closes and actually closest to sensor, so that's your shutter speed. But we're sued the stroke fire. Well, in most cases you might say, Hey, at the first shutter curtain, right? Because then immediately we have the image and everything else is okay. Yeah. No. In my personal opinion, I would highly advise you guys to always place your strokes on the second shutter curtain. Let me explain why. We're going to show you a picture now of a car. When you look at this car, does it drive backwards or forwards? Well, as you can see, this car actually drives backwards, right? No, it doesn't. It drives forward. So what's going on? Why does the car look like it's driving backwards? This is because this shot was done on the first shutter curtain. Now think about this. It's dark outside and you have a car that drives, you have headlights and you have tail lights. And they both create streaks in the night if you use a longer shutter speed, right? So if the car is here and you freeze the car, the car will be frozen there, but the tail lights, We'll just keep registering on your sensor because your shutter speed is longer, right? You freeze the car and the tail lights just do this. So how does it look? It looks like the car is reversing. That's not something that you like. Or maybe you do. So how do we make the car at liked, this one? Here you can see that the car is actually moving forward. So how very simple you use your second shutter curtain. Think about this. Everything is dark. You see the daylights, you see the headlights, you see the streaking. And then at the end boom, everything is frozen. And this is how a car drives forward. Now you might wonder, does this really happen a lot? Is it really a problem? Let me put it this way. We live in emma Lord, and we live on an industrial area. And one of the cool things about our area where we live is that every year we have something called the solder, say, rally and decided to say rarely means actually that nobody is allowed on our industrial area because the railway cars are driving literally almost in our front garden. Meaning we live here so we can actually stay in our home and see all the cars. But you can also see a lot of guys shooting those images, believe it or not, a few years ago, I was standing outside also taking some pictures and one of the girls actually came up to me and she said, Frank, I don't get it. When I look at my images, all the cars seemed to be moving backwards. I tried to help out, hey, normally you probably shoot during daytime, right? Yeah. Yeah. It's the first time we shoot at night. Okay. No problem. How did you put your strokes? So how do I put my strokes? I don't know. So we dive into the menu and we placed the strokes on second shutter curtain and the next image. So he took, he looked at me, said, Wow, Now the car drives forward. So don't think this is something that is very easy. It is easy if you understand it, but it's something that confuses a lot of people, including professional photographers. Because let's be honest, in most cases, it doesn't really matter where you place your strokes in the first or second curtain. Because well, it goes really fast, right? It only comes into play when you shoot cars, e.g. at night or something else that gives you that streak of light. And then you have to use that second shutter curtain. Now because there are no real disadvantages of using it on seconds, my advice is to really always keep it on second curtain. So in short, with first shutter curtain, the stroke goes off immediately when you press the shutter button on the second curtain, the strobe goes off at the end of the exposure, meaning a car will drive backwards on the first and it will drive forward on the second. Got it. Okay, Let's continue forward now. 4. 4 HSS: Now in the studio shooting with strobes is of course a blast and it's actually pretty easy because you have total control of your lighting, right? If you liked the lighting new studio to be darker, you just turn off the lights or you blind to your Windows or whatever. But if you want more light, you just turn on the lights. In the studio. Everything is under control. But now we go outside and there's something in the sky and that's called the sum. Did you ever heard about it? It's that big yellow thing that's always too bright, especially with strokes. And you can imagine that with this trope like this. How are you going to win from the sun? Yeah. Just forget about it right next chapter. No, not really, of course, because you want to be able to shoot in the sun, which are small strokes right? Now, if I tell you that if we take a big studio strobe out, something like that with a big battery pack. And that's 1,200 watts. And then I can kill the Son. And I will probably have to shoot on F22. How can something like this be better or is it let me dive into HSS, which you guys? So first let me explain what HSS. Hss means high speed sink. Now, before we go into HSS, I do have to go a few steps back into history. Now, when you take a picture on your camera, what happens is that first the mirror flips up. Wait a minute, Frank, mirror. Bear with me. We're talking about history. Right? So the mirror goes up and at that point your sensor is lit. No, sorry, Still not bleed. There's a curtain in front of your sensor. That's not a curtain like a tier two curtain, but it's still a curtain. Now, there are two, the first and second. And remember this for another chapter. So you have to first critter curtain and you have the second curtain. Now as soon as the mirror is up, the first curtain will open up and expose the sensor. And then the second curtain follows. Depending on your shutter speed, those curtains move in a certain way. Now there's something in your manual and you probably already saw it. It's called zinc. And often those zinc is 125th of a second, or maybe one-two hundredths of a second. That's actually your synchronization time in which the whole sensor is exposed to lighting. Now, if you look at normal lighting, it's cumulative. I hope I pronounced that correctly. It means that it adds up over time. If you leave the shutter open for a longer time, more light is captured on your sensor, meaning your image will be brighter, right? Okay. Which strokes we have something else. Strokes doesn't really build up. Stroke is a pause at once. So this is your time and boom, there's the pulse and then it goes. So that means that the sensor has to be fully exposed for that pulse. If the sensor isn't fully exposed, you will get a black bar and tell me honestly, did you ever see a black bar in your studio shots? You probably did. Right here. You've got your shutter speed way too high. And this is also, by the way, let me just go very quickly on a sidetrack. Freezing motion with strokes. A lot of people think that's done with shutter speed is actually not in the studio. We often use 125th of a second, which Studio strokes. But because the studio is so dark and strobe is so bright in a short amount of time that actually freezes the motion. You can even do it on one or 2 s. So let's go back to HSS. We know we have limitation with the mirror and the shutter curtains, right? So we have to stay below one to hundreds of a second to expose that whole sensor. Now as soon as we go outside, we have a problem because on one 200th of a second the sun is so bright that it will probably F22, ISO 50. And in some cases, like in the Netherlands, probably F eight. But you know what I mean? Right? The sun is way too bright. So how do we solve this? We have to break that barrier of 125th or one-two hundredths of a second, depending on your camera. By the way, I know nowadays there is no mirror in the cameras anymore, but there are still shutter curtains. And that's where this problem lies. So we have to make sure that the shutter is exposed to everything that your strokes lit, right? But on every moment, but the strobe is only a poll. So how do we do this? This is actually where we use something called stroboscopic effect. And if you ever went to a disco tech, you know the stroboscopic effect. And if you are well epileptic, you've probably already noted effect because light just goes very, very fast. And at that point, well, you already get it right by using stroboscopic effects, we can actually light your sensor on a much, much faster shutter speed. So how does it work? Well, normally your stroke will only give one big push of light and that will freeze your motion and of course lights your model. Now outside is because we have that limitation of your zinc and it's shutter curtain. We can't do it with one pulse. So what they did, and this is very, very smart. They actually make your stroke pulls a lot of times next to each other. This means that you get something mimicking continuous lighting. This means in essence that you can shoot on a very high shutter speed. Still light your model over the whole sensor. Now of course, there are also a lot of benefits and a lot of disadvantages. The first thing, the benefits, the benefits is that you can now shoot outside, kill the ambient light, and actually shoot on 2.8, which with normal studio strokes is absolutely impossible because, well, you have to stay on 125th of a second and then you shoot on F22. So there's hardly any shallow depth of field possible. It's always a lot of depth of field unless you use ND filters, of course, neutral density filters. With HSS, it makes it possible to shoot on insanely high shutter speed, sometimes up to 18 thousands of seconds. But let's keep it normal, one-two thousands of seconds. And that's often more than enough to kill the ambient light and still shoot on e.g. 5.6. Now, you might want to like, hey, is that the magic thing that high-speed seeing, why not let it let it go all the time? Well, that's where the problem comes in. If I only fire once trope or solely one pulse, I get a lot of power and a stroke will recycle pretty fast. Probably you already feel it coming, right? If we use that stroboscopic effect, strobe will get a lot hotter because it has to continuously showed that light. But it also isn't able to give you that much light output. So the light output will go lower. That's not really a problem, right? Because, well, we shoot on a high shutter speed. The other problem is the batteries. The batteries will die a lot faster when you use HSS for the very simple reason, you give a lot of strokes after each other. So HSS, it works like a charm to kill the ambient light and shoot on a shallow depth of field. But you have to realize that your battery dies a lot faster and your stroke will heat up also a lot faster. And especially with strokes like this that run lithium-ion batteries, they will go on forever. But it doesn't mean that the stroke doesn't heat up. So when using HSS outside, especially with more powerful strokes, make sure that you slow down new workflow. So really don't shoot ten frames in a second. You can't even do it. But again, you know what I mean, right? Just shoot it slightly lowered. It will save your strokes, it will save your batteries. And the results, if you take a little bit more time, will also probably be better. So in short, HSS, high-speed sinks makes it possible to shoot outside in bright sunlight with a very shallow depth of field because we're not using one pulse of the stroke. We're actually using a lot of pills next to each other, mimicking continuous lighting. But with strokes, disadvantages, battery drains faster, your strokes heat up and you get less light output and less light output is actually not something that's really bad. Now, you might wonder, Frank, hey, manual mode. Does that still work? Yes, because ETTL and HSAs are separate parts of your stroke. So how do you meet her? Hss? Is that even possible to use a light meter for HSS? Well, I have good news for you guys. Hss can be mirrored by a light meter, e.g. this iconic 858 has an option that meters HSS. So in short, HSS is awesome if you want to shoot outside, kill the ambient light, and get some really, really nice shallow depth of field shots. Something that with normal studio strokes, it's very difficult to pull off. But with these small strokes, It's actually pretty easy. 5. 5 Remotes: Okay, In this chapter we're going to talk about something that's really important for your speed lights, the remote control. Now, there are many different ways to remote control your speed lights. Now, one of the most famous ones that is actually horrible is to use a master unit. So what is the mass unit? Now think about e.g. if you own a Canon nikon or Sony camera or Ferrucci, you have to buy two strobes. One you leave on the camera and one you place next to your subject. And it means that if the camera shoots monster stroke or send a signal to the other strokes and those strokes will fire. That's a pretty expensive solution, right? Because you lose one stroke extra batteries, it's not perfect. Another solution and that's often very, very cheap is use an infrared remote control. And that actually means that you use a smaller device on your camera and that will trigger your strobes. The main disadvantage of debt system is that they have to be in line of sight and it's really line-of-sight. So in other words, if you have your strokes like this, they probably are not lining side. So what you have to do is you have to press a button and you actually have to move the head over and turn it around. And now it's line of sight. This can give you a lot of cool things that can happen outside in the sun, as you can already imagine, line of sight in the sun. Okay, that's no problem. But what happens if you have a really strong sunlight? The system doesn't really work. Another solution and that's way better, of course, is radio signals. So what is a radio signal? A radio signal is something that travels through the air and isn't really bothered by wolves were a little bit of course, and not really bothered by the sun. Now with walls, of course, you have to be careful. Sometimes it goes through, sometimes it doesn't. But in most cases it's a pretty strong signal and you don't really need line of sight. So you can place your strokes further away and they will still operate without any problems. Now the final one, and that's one that hardly anyone uses, is actually the optical slave. Now the optical slave is a little bit like the master unit. It will respond to other strokes firing. This is something that you absolutely don't want outside because the optical slave is often also triggered by sunlight. So that means that you go outside and you are ready to shoot and your batteries are empty because the strobe is constantly firing because it sees the sun and goes like fire, fire, fire and new batteries are dead. Or you're in the middle of a shoot and you stroke doesn't fire because it fired 10 s before and it's still recovering because the batteries are almost dead. So optical slaves make sure that you turn them off when you go outside. So the radio triggers. Now, the cool thing about radio triggers is that they work two ways. Yes, two ways from the camera to the stroke and back. This means that you get a lot of extra options. So let's just turn on my remote control. I'm using a nice thin air. And this is because we're using missing strokes. When I turn it on, you can actually see my menu. Now, this is on full manual mode. I have four different groups, a, B, C and D, NIF of course, different channels. In this case I'm on channel two. If you're shooting with a friend or with a colleague. And well, you both use the same system. One can be on channel 11, can be on channel two here if a lot of channels, so don't worry if you're shooting with eight photographers, it should be no problem. Now the cool thing about nursing is they also have an open mode, which means that you can use several cameras together. So e.g. nikon, Canon, Sony in one setup. But for this, we're using the closed system too. So that's why you see only the Wi-Fi signal here on the radio signal. Let's be completely clear. Okay? So on manual mode, you can see that a, b, c, and d are all set up on 1,321,812.12. And I can change that very easily. I just press the a button and I will just change the output. And that will correspond to, of course, my stroke on the a mode or a group. I can also do it for two. So now to our blinking and I can change to, this is cool, right? It's also something that you can do wrong when you're a little bit stressed, but so always watch out which one is blank blinking. Another thing that I highly recommend you guys is actually to use big yellow stickers on your strokes with a, B, C, and D because this is something that, yeah. When you're a little bit stressed, sometimes you don't remember what was a again, what was b again? But this is manual mode. There's also another option and that's ETTL. So we can go to ETTL. Now, here you see a, B, C, and D on zero. Now it easy TO, we don't use power output, so we use less exposure compensation. It's a little bit the same as exposure compensation. If you shoot the snow landscape, it will turn 18% gray. So you use exposure compensation to actually let in more of the ambient light, meaning your snow will look white if you use strokes and there's a little bit too little output on your subject. You very simple go-to group a and you just turn that one up. You can go all the way up to two and it's not really all the way up to is workable. I would highly prefer something that goes up to e.g. five. And this boys and girls is why we shoot on manual mode, because this is something in all honesty, I show it to you now in the tutorial, but I never use it for the very simple reason. With manual, you have full control with this. It's always a little bit of guesswork and if you zoom in or zoom out or change your position, and you can do everything again because well, for the camera, it's a totally different scene. It will try to get it to 18% gray, and it will just mess up your workflow immensely if you have to edit a lot of pictures afterwards. My advice, always use manual, but for the tutorial, I still want to show you how it works. Okay. So turn it back on. Okay, So manual. And of course ETTL explained. Now of course you also want to know like, Hey Frank, in the studio we often use modeling lights, right? Is there a modelling light on your speed light? Yes, there is certain systems or my system, I actually press this one. And now you will see, I hope you can see it on the video. You will see small modelling lights on all my strokes. Now I have to be honest for you guys, this is something that doesn't work on all strobes. So in this system it works. But look into your manual if it also works for your strokes, I know for Canon e.g. you have to press the depth of field indicator and something else and you will get a stroboscopic effect which mimics you're modeling lights with my strokes. There's actually a little LED light in there that will function as a metal enlightened. It's something that's really cool. Now, there are a lot of more options in here, e.g. if you hold it down longer, you can see that we can now zoom our strokes. So in this case e.g. one, I can zoom all the way up to 200. Now, if you look in the part of zooming your strokes, you see me mentioned that most of these systems will go for 24 to 70. Let's also most of the standard lenses like 42 of 24 to 70, that's most standard lenses. So it doesn't make sense to go higher, right? Well in this case, I love this, this system goes up to 200 because I use it as a special effect to narrow that beam of light on my model. Now if you didn't see that section yet, look at the section zooming. And then especially the model session where we go into the studio and show you how you zoom in on your model and create a really nice narrow beam of light without using grids. So zooming works like a charm. And the nice thing is that you can do it for all your strokes differently. So you can do auto. We don't want auto Of course. But in this case we want to make sure that we zoom in e.g. this one to 20. For this one we're going to go to 200. It's insane what I'm doing now, it doesn't really matter, but you know what I mean? Every single stroke you can put separately on zooming mode or on wide-angle. And I think the combination of all those settings together and that it talks back to your cameras. On other words, the stroke knows exactly what the camera nose and the camera knows exactly how the strobe is. Setup is a huge benefit for using radio signals. In short, we have different ways of controlling your camera. We have, oh sorry you stroke. We have a lot of ways that don't work, like e.g. line of sight solutions with a few solutions that are pretty expensive, like the one with your extra massive stroke. And we actually have a solution that works like a charm and I don't know why those are. The solutions are still on the market because this works like a charm. It's radio trigger. So you can even go through walls with a little bit of a side note, in the Netherlands we have brick walls. You can forget about this, but if you have drywall, sometimes it will just works like a charm. And if it doesn't just move your strokes a little bit. And a main advantage of those radio strokes is that you don't have any interference. Most of the time. You can use it with several photographers on different channels. And you can use different groups, in my case, even for groups. But more is actually the main benefit that you can set up every single stroke from your camera. So going full manual mode for strobes and every single stroke you can control from your camera and set it up exactly the way that you want. You can even combine ETTL strokes with minimal strokes. It's crazy. Versatile system add to that the zooming and the modeling lights. Radio triggers are the way to go with, of course, the proper strokes because not all speed lights have modeling lights. Now you know everything about remote controls. And he saw it was a lot more fun than the one you use for your TV set, right? Let's go to the next chapter. 6. 6 My favorite modifiers: Okay, welcome into segment about modifiers. Now, let me first make clear what is a modifier. Now when you look at a speed light or around stroke or any stroke, you of course have with normal strokes the modeling lights, and of course the flesh tube. Now it's speed lights. You often only if the flash tube, but when you use the flash tube, only it will create a very harsh image. And that's something that we often don't want to modify our light. I most cases we want to make the light softer, right? Because we want nice soft quality of light. And sometimes we want to focus the attention towards our subject. In this class, you also see, of course examples of zooming and using of grids. But let's just talk about my favorite modifiers because well, to modify your light, you can use modifiers. Now for speed lights and round strokes and of course studio strobes, there are a lot of different manufacturers. In my opinion, it's very important to choose a system which is for speed lights, especially, which is compact, which you can carry along n, which gives you great creativity. Now, there are many brands out there, but personally, I'm using the ROCC system. I want to be absolutely clear about is that there's no misconception about this. We started using rogue more than 12 years ago. I was part of developing the new flesh vendor, which actually also carries my name the frame door of flesh vendor. And starting this year 2022, we are the distributor in the Netherlands, or actually in the Benelux for rope. However, that doesn't really call them my opinion about a brand. So we're working with rogue for many, many years already. So let's dive into the system and let's see what I use on location. Now, the first one, and that's also the one where we started with many, many years ago is to flesh vendor. Now, in most cases, you know, bounce cards. And bounce cards make it possible to a new stroke up and they bounce the light from the stroke towards your subject, creating a slightly or much larger light source creating software lights. The case of the flesh banner is a little bit special because it's not just the bank card. You can literally bend it any way you want. And during this class you'll also see me doing that against the backdrop. This was one of the things that triggered me about the flesh vendor like, hey, this is so creative because we normally buy a modifier. You can use it one way or maybe two ways, but that's about it. With the flesh banner, there are so many options and as you can see, it fits in almost every bag. So let's see what the options are. The first thing is the normal flesh vendor is white. This one is soft silver, so it gives you a little bit more of an edge, more harsh shadows, and it gives you more light output. But there's much more. Of course. You can use the flesh vendor like the bounce card, or you can fold it and you can even fool the sites. So this is really cool. But there are also many accessories. So if we just look at the flesh Bednar, we can make a smoothed out of it by just folding it into snowed so we can focus our light on our model without needing any grids or whatever. And of course, if you want softer light, we also have this soapbox attachments and they attach to the flesh band of very simple. You can attach it to the flesh vendor. You can use the little buttons to make it more secure and you'll have a slightly softer quality of light. But if you're like me, you like to steer the light more. We also have, of course. Well, the strip light attachment with the grid and also the street light attachments you can very easily mount to the flesh Bender and then use it as a strip attachment. So that's the flesh band are pretty flexible, right? And that's what I love about the products. Okay, so let's move over to the new system. In 2022, rogue released the magnetic flux system. And the magnetic flux system is compatible with all the round strokes. So pro photo, Westcott, God ox, and of course, speed lights might wonder, how does a round system fit on a speed light? Well, feared a converter. So you use this converter on your speed light and then you mount magnetic system on this, what contains the magnetic system? The first accessory. And you also see that in the class, this is the dome. The dome is very cool because it makes light omnidirectional. Now, if you're looking for accessories for your speed lights and you go like, hey, I don't want to use ROCC for whatever reason, find something that has that same level of roundness. Because what happens is the light hits that dome and now it spreads out more evenly over a bigger area. It means it mimics softer light quality. Remember, small light is harsh, bigger light source is softer. And a dome makes the light omnidirectional so bigger. Another advantage of using something like a dome is that you can place it e.g. slightly besides your model, use it as an excellent light, but also on the background, which makes it very, very flexible. Now of course, a magnetic system isn't just only the dome. We also have a gel holder. So into jail holder you can use several gels and they have a lot of gels. They range from pure red, a little bit more magenta, blue, to a little bit more science. So they have all the colors. They might wonder, hey, colors. Is there only colors? Well, yes and no. We work with strokes. It's always very important to always realize that you can also come in situations where there is different light sources, right? E.g. candlelight or tungsten lights or fluorescent lights. Now, your stroke has a certain color temperature. It means that it gives a certain color to your light. The best example is actually when you use LED panels in your studio, you have this little dial and you can make it warmer or cooler. You're actually changing the color temperature. But how do you work in a situation where you e.g. if tungsten light bulbs and your stroke, you want to make sure that everything is glued together nicely. You have to make sure that that stroke becomes the same light quality. So the same color temperature as of course, the tungsten light. And that's why you don't use a normal gels, but you use so-called CTO gels, color correction gels. And of course for this system they also have color correction gels. In my opinion. In your bags, you should have at least one kid for the creative colors and one kid for color correction. Because color correction you use a lot on location in the studio. It's not used a lot on-location. You can use it all the time. And that's just makes everything glued together nicely. Now, when you want to draw attention to your model, hey, we also have the grids, of course, the nice thing about a magnetic system. Instead you can use one grid or you can use two together. So in my opinion, when you use small flesh or you use the round strokes, I think the ROCC system is a system that gives you a lot of flexibility and creativity. And in all honesty, we put everything together. Let's stick the jails, let's make it as big as possible. This is about it for a speed light. And this is all the accessories you need before the flesh bender. So in essence, when you put this in your bag, you can be super creative with two strokes. And it doesn't take up a lot of space, right? So that's one of the reasons I actually went for the Rogue System. But again, I want to stress to you guys, you can have many choices on the market. Just go on. Your favorite camera supplier like B&H, Adorama or in the Netherlands camera expressed government and who doesn't really matter? All the stores, they have a lot of stuff for speed lights. Personally would go for the Rogue System. Hey guys, let's go into the studio and let's see what we can do with our model and our speed lights. Are you ready? Let's go. 7. 7 Mounting solutions that work: Hey guys, let's talk about something that's really simple but often overlooked. How do you mount those strokes on your stance? Now you can of course, use normal studio stands. But that's something that doesn't really work for small strokes. And let me explain why. When you look at how a normal studio strobe is built, there's always this handle and it actually makes it possible to swivel your stroke. When you look at a speed light, there's no handle. So as soon as you place them on a normal studio stand, it's about this. And maybe you can shuffle the head a little bit. But you don't have a real flexibility that you have written normal studio strobe. And that's why I'm a big support are actually off boom stands. Now what is it? Boom, standard. It's not a standard. Goes boom, of course, that's dangerous. But it's a standard, has an extra arm, like you see here. And with that arm, you can literally just place your standard in any position you want. Now if you're using a slightly heavier strokes, so the speed lights are not that heavy. But if e.g. you use the round flashes which are more heavy at that point, it's very handy to have a counterweight on the other side of your boom stands. And it can be a sand bag or you can fill it with water or weights, but you have to have a counterbalance. So how do you mount those strokes on your stance? Well, one option is of course to use a little foot. I'm not a big fan of those for the very simple reason. They're often not very tight and your stroke and fall off. There is a food that does work and that's on this stance. That's the freer. And it's pretty stable and it works like a charm. But it's even better if you have a stroke like this one from missing. There's actually a connector on the strobe itself where you can mount it on your stand. And this one this one go anywhere. This one is pretty tight, but it can still fall down if you're really on careful. So in other words, just be careful with your strokes and use boom stand, and you will be safe and you can mount your strobes wherever you want. And a nice thing about the boom Stan, think about this. If you extend the arm, you can even place it behind your model without the standard interview. Isn't that awesome? 8. 8 Playing with portraits: Okay, we are in the studio and for the first setup, we're going to do something that probably most of you guys start out with the simple portrait of a model. But hey, we're working with speed lights and isn't it the rule that when you want to photograph something that has a really nice soft quality of light, that you need a big softbox, right? To make the light soft. Because a bigger light source equals nicer images. Although that nicer images, that isn't always true because e.g. myself, I love a photo that has a lot of contrast and a lot of debt with shadows and highlights. I just loved it. And then smaller light source are actually a gift. But in this case, Let's do is very simple. We want to create a nice soft quality of light. Now, of course, a big soft box. Yeah, you can already see it. It's not on there. But there's also another way to create nice and soft quality of light and that is actually make light omnidirectional. Now, in the segment of my favorite modifiers, I already told you guys that I'm really deeply invested into the Rogue System. And it's not because we are the distributor of rope, but it's actually because the system just works and you want to bring something on location that's small and it's flexible and it works right away. Now, before we start, I want to tell you guys, so there are many solutions out there that will create something similar. So it's not, you have to have the Rogue System is just at our choice is to rock system. So what do I have for my stroke? On the stroke we have to dome. The dome does something that's really nice for a soft quality of light because it creates an omni-directional light source. So normally when you look at a speed light, it's actually aimed at your model. And it's a really small light source aimed directly at your subject and that creates harsh shadows. And it creates a smaller, narrower beam of light by using a dome. What you actually do is because it's round, you make the light omnidirectional. And it also means that you mimic a larger softbox. So let's take an image straight in front. We already made it a light on F4, ISO 200th. Let's just create an image straight on our model. And there we go. As you can see, it looks pretty okay. It looks nice. But it's not really something where you go like, wow, this is amazing. Now, the reason for this is actually pretty simple. Now, speed lights are designed to place on your camera. But one of the most ugliest light sources, they actually light sources that are straight on your model. First of all, you can get red eyes because you are very close to the lens which are light. So that means that it goes straight into the iris and the pupil, and it reflects back, so that creates red eyes. But it's also not really flattering. Now in this case, we already placed the light higher than the camera, creating a little bit of direction in the light, but it's still very flat and very straight on, if you like that. That's awesome. In our case. We want a little bit more excitement in short. So what I'm gonna do is I'm gonna take my stroke and I'm going to place it slightly under an angle. I'm going to place my iPad a little bit closer to here. I'm going to create this nice aim it at our model. Now officially issued that remainder. But for the sake of the video, we're just going to shoot it with the same settings. I think that distance is about equal. And there we go. Okay, So little bit down. So let's go. Let's turn the stroke down a little bit. There we go. That looks much smoother. Nice. Now you can already see that we have more direction in the light, it becomes more interesting. You get way more engaging image. But what if you go like A-Frame? But the other side, I would love to open it up a little bit. That's actually why we have a second stroke. And on the second stroke views of flesh vendor with a grid in a strip light modification. So that's one of my favorite ways to set up that flesh banner with the grid. You can really narrow that light beam, the beam of light exactly where you want it. So let's turn that one on. Now in the segment about remote control. So I already told you guys that you can have several groups. Now in our case, the big one. So in this case the backlight is group a and a smaller one is group B. So in this case, be in the front, a in the bag. And let's see what happens. So let's turn the backlight up. And it's a little bit like cooking. You look what you like. And this is a little bit too much for my taste. I love the lens flare. That's just a little bit too. So let's turn that down. There we go. This is nice. Okay. Can you hold your hands like this a little bit. There we go. I love the pearls or the shiny stuff. And there we go. So as you can see, by using two light sources, you can create something that gives you three-dimensionality, but also, and that's the main thing about this setup. By using the dome, you can create something that mimics a little bit like a softbox effect. It's not a softbox, of course, it's still a little bit harsher. If you look at the images, it comes very close. And what I like about this setup compared to a softbox is that although the whole model is lit, it still has that little bit of an edge of harshness that you find in speed lights. And that's the part that I find really attractive. We go for a big soft box, you often use it, you lose this. And the images become, for me a little bit less interesting, a little bit less contrasty. Now of course, you can also move around yourself. So let's say if I'm going to stand here, I can create a totally different look. Or if I'm going here, it will be a little bit more flat. But now you can see the backlight a little bit more and created beautiful lens flare. Nice, needing, love it. Great. So portrait setup with a little bit of an accent only using two-speed lights. Let's go for the next set. 9. 9 Zoom: Okay, the next thing that it's also very interesting about speed lights is actually the zoom mode. Now, of course, speed lights are designed to be on top of your camera, right, and aimed straight at your model. Getting goosebumps on my back somehow. Aiming light straight at your model. Not really my thing, red eyes and it just doesn't look nice. But hey, that's how they were designed, right? So that some function is actually pretty handy. Because think about this. If you shoot on your camera with a 24 mil lens, your angle of view is like this. It doesn't really make sense to have a stroke that's only lights small part, right? So when you shoot on 24 mil, you want to make sure that everything is lit, that your role model is lit. But what happens when you zoom into e.g. 70 mill? Now your angular few becomes this. And now it becomes very important that your stroke doesn't like this anymore, but actually zooms together which are lens. This also means that you don't lose a lot of energy from your stroke. So in other words, by using Zoom on your strokes, it makes it very, very nice to literally pinpoint of light on your model, but also don't use too much power. In other words, your batteries will continue longer. And of course the model is a little bit further away on 70 meals, so it all adds together. It's actually very smart system. Now you might wonder like, hey Frank, How do you use Zoom if you don't use your strokes on camera? This is actually where it becomes really interesting. When I use my stroke off camera and this is how I mostly use them. I actually never used them on camera. I often want to pinpoint my model a little bit. And of course you can use modifiers. We're going to talk about that later in arterial or earlier depending on in which order you watched material, of course. But if you use e.g. a. Modifier and you want to narrow the beam of light. What is the first modifier that you use? I mean, here? Yes, a grid. Very good. So when you use a grid, it actually narrows that beam of light, but it doesn't do anything for your power. Actually, it takes power away because well, the grid narrows the beam, but it's also black kids or light gray, whatever great to use. And it will take away power. So there's no getting around of this. There is with speed lights because we don't really need the grids per se to start with later on, of course we can use them, but not to start with. Think about this place, your lights about, let's say 2 m away from your model. And I'll zoom it to 24 mil. What you will see is that you get a lot of light spreading around. Now use the zoom and set it on 70 mill. And how you will see that that beam of light becomes more compact. And this is one of the first tricks you can do with your speed lights, just using the zoom function and creating a totally different look. Now for this, we have to go to the studio, weight our model and we're going to show you what a zoomed us on our model and you will immediately see that it's an incredibly powerful trick, especially with strokes that can zoom further than 24 to 70. So let's go to our studio with our model. Let's zoom, zoom, some really cool shots. 10. 10 Zooming in on your models: Okay, we are back in the studio and one of the things that I love to do with speed lights, of course, is use the zoom function. Now, you might want to zoom function. What is that? Well, by now you probably already know that I love to focus my light on my model. I really want my model to jump out. I want my mother to be the main attraction of the set. And of course we use great backdrops from clicked probe backdrops. But I always think that the backdrop should enhance the picture and not be the picture. So in this case, what we're gonna do is you're going to show you the zoom function. So what is that soon function. Well, if you didn't see the section about Zoom function before this, please go back and find a chapter about the zoom function. If you already saw it. Let's continue. So if you look at your camera, you normally use lenses, right? And those lenses have different lengths. So e.g. at the moment I'm using a 24 to 70, that means that I'm going from 24 mill all the way to 70. When you make that really simple, you could say, I'm going from this to this. Now if you use a 70 to 200, you could say, I go from this to this. Now, when you using a strobe, it doesn't make any sense to shoot e.g. on this and then a light everything, because that saves you a lot of energy if you don't do it or well, recycling time, batteries, heating up, whatnot more. You really want to make sure that you don't lose any of that light to areas where you don't photograph. So that's why most speed lights, because they are designed to be on top of the camera, actually zoom with you. Now because we're using the speed lights off camera. You would think like, hey, you don't need to zoom, right? Well, you actually can. So what's this? The first setting I'm gonna do is I'm 24 mil. So I'm standing here, I'm going to shoot it exactly the same way twice. So I'm going to shoot it on 24. And we're gonna go into the menu. And I'm going to go for Zoom. I'm gonna go first for 70. Now you don't see a lot of difference, but let's go for 200s. Now watch this. There we go. And you can also see that the exposure goes slightly up. Now, in this case, you can of course, corrected in light room or any raw converter. But it does mean that it focuses the light more, but also gives you more output. And this is something that's really important with longer lenses because your model is further away. Now if you liked this effect and you go like, Hey Frank, I really liked this, but can we make it even narrower? That's where we're going to use extra accessories. For the next set, we're going to use the grid set. Okay guys, for the next setup, we're going to use a grid. Now, let me first explain to you guys what a grid is. And for that, I'm not going to use the smaller one. I'm going to use this one. This is from the hands of beauty. This we use in our studio on RStudio strokes. But I think it makes the point a little bit clearer. So if you look at lighting, it's literally the way that the light travels. So if you use something that's omni-directional, light goes everywhere. If you use something that seems like e.g. snowed, the light is focused into one area, but that's not all. You can also limit the way that your light goes by using grids. And that's actually the most economical way to use a light modifiers because, well, you can put it in front of almost everything. But how does a grid work? This is a black grid, but you also can get them in a little bit lighter colors like e.g. grayish or even white. I'm not gonna go into much of the details there. But most of all, I liked a little bit lighter ones because the light travels through the grid and we use a black one like this one. It makes the light very harsh, which I personally like. But if you use a wider one, it will spread it out a little bit nicer and you get a little bit more output. But overall, I find myself switching between dark gray grids and black whites. I hardly use, but this one I absolutely love. So how does it work? Very simple when I look straight through the grid, you can see my face, but as soon as I start to angle it, my face disappears. And it goes for all directions. And the same thing happens with light. If light travels straight through the grid, it will hit your model. But everything on the site will be blocked off. So meaning that light will normally hit this with a grid. It will go like this. So it's one grid to rule them all. No, you need different kinds of grids, and that's about the honeycombs. So this we call the honeycomb. And you can have that with very large honeycombs and then the light will not be limited that much. Or you can have very narrow honeycombs like this one, and then the light will be even more narrow. Sometimes you see it in the honeycomb, so they have bigger or smaller honeycombs. But in the case of speed lights and the Rogue System, but also many other systems, you can stack different grids on top of each other. And that way you can literally just keep squeezing that beam of light. Now in this case, we're just going to use one. I'm going to show you the difference between what we do with zooming, which is already a great solution. But now we're going to use a grid and a nice thing about those credits. They're not that expensive and they really add something to your arsenal for creativity. So let's go to our model Nadine and use the grid. Okay, so I placed the grid on our knees in stroke. And, and let's see the difference. There we go. Now as you can see, the grid really pinpoints the light on our model. Now, there's not a huge difference between the 200 and this one. But to realize that nice thin strokes actually Zoom to 200, not all strokes do this. And when you look really close to the images, Let's put them side-by-side. You will see that the one with the grid has much nicer sites. So the original one with only zooming is a little bit more elliptical. This is a little bit rounder. But what if you want even more attention to your model? Yep. You already see me looking for it. I told you I wouldn't stay grids. We still gonna do it. So let's place this here. There we go. And let's see what happens now. So now we have two grids stacked on top of each other. Now you can see that we really are narrowing that beam of light and it gives you so much creativity and so much new options. Look straight at me, please. It can really make a model jump out. And I just loved this look great. Now, of course we use grits. You are limiting your life a lot as you can see here. And D shots are awesome if you use a little bit of lens flare. So in the next set, we're going to add a dome and we're going to use some lens flares. 11. 11 Adding magic with lensflares: Okay, so we set everything up for the next set, and this is actually exactly the same setup as before. So we're using two grids stacked on each other. So really narrow beam of light. But I'm also using the dome and be needed behind the dome, There's actually a red gel. And how I have to be honest, I'm actually fooling you guys a little bit with a lens flares because, well, most modern lenses like e.g. the 24, 70 from Sony, are really good protected against lens flares. And let's be honest, in normal situations, lens flares are often something you don't want in your picture because it takes away contrast. It just doesn't look nice in most images, but sometimes you really want it in there. Now with modern lenses, you need a lot of power to get lens flare in your lens because well, they're coated against it so you fighting against your lens. The first thing you have to do, of course, is take your son who'd off that saves you a lot of trouble. The other thing that I'm using is a magnetic filter. And in this case I'm using a k and f concept filter. And it's called a black missed. And without any doubt, it's one of my favorite modifiers to put in front of the lens. I'm not really a filter kind of guy. But in this case that black Smithfield really helps out to create a nicer, and most of all, a smoother lens flare. First we're going to take the shot without the filter and without the extra stroke. And then we're going to put the stroke and fill to give you guys literally what you can expect when you do it yourself without that filter or without the lens flare. So let's see what happens first without. So this is just, Amy's a little bit more towards our model. Okay, that looks so much better. So this is without the lens flare. So now let's turn on channel a, because that's where my lens flare is. Okay. Let's put it on one-fourth power and it will give me a lot of light from the red stroke. There we go. I really liked this. Wonderful. But as you can see, it just gives a little bit of red. You on the side. It's not really like, wow, that looks amazing. So what's this? So now we're gonna put the filter on and just look at the difference that we go and this I really like a lot. There we go. So it's a little bit more intense. Now, if you want it even more intense, that's possible. Now, when you look at the setup now, you can see that the light is already in front of our model. So it's not literally next to our model or behind our model. It's actually in front. And it means that the light is aimed straight at the camera. Now because light always travels through the air and of course also bounces off areas, there are still some of the light that will hit our model. But by placing the light in front of the model, most of that light, and that's actually what we want for lens flare hits the lens and not the model. And a little bit of light that scatters from my shirt, from the ceiling and everything else that comes back to our model. One of the things why also in my favorite modifiers, I'm raving about the dome from rogue. And again, you can use it from any different other manufacturer. Of course we just choose a rogue. And what it does again, it makes light omnidirectional and I can't stress enough how important that is in these kinds of situations. Because you're not only creating lens flare, but you're also using that stroke to light your model. So you're using it to false and on-location. That means that you don't need four strokes, but only two or three. Let's save you a lot of set of problems. Let's place this one a little bit more closer to me. There we go. And let's just see what the effect is. There we go. I'm aiming it at my lens. And there we go. So I like this a little bit more and a little bit less light on my model and a little bit more towards myself. Okay, cool. But what if you don't want lens flare like this? You want lens flare over your whole image. Well, their solution for that too. So we're going to build up something very quickly. We're going to take this one away from here. I'm going to place that's really close to me. And all the way down. We go. Awesome. Let's do this one up. There we go. Now sometimes you don't have the option to use lens flares from the side, right? E.g. if you're in an elevator and you want to capture a nice red glow, but wherever you place your strokes, it's always in the frame and you don't want to Photoshop it out. Now, Lens Flare, of course, can be done from the site. It can be done from the top, but it can also be done from very close to your camera. And in this case we have the stroke almost directly touching the lens in a moment. Now of course have to turn down the volume of that stroke a lot. So that also saves your batteries. Let's go down. The effect is different, but it's very interesting. And again, because the dome is only directional, it will also light your model a little bit. But look at this. You don't need Instagram filters anymore. Nice. Now if you think, oh, that's a little bit too strong. I don't like the pastel teens. Let's go down a little bit in power. And there we go. And now it's more subtle. Nice. Let's do a little bit more wide. Cool. Turn it up just a little bit awesome. Now, why did I say about the pastels and a little bit more saturated? You have to realize that every color has three coordinates, x, y, and a big Y. Big Y is interesting because that's actually luminance. Now if you change the luminance of a color, it will become more saturated, go more intense. And that's actually the trick we're doing here. If I use a lot of light output, I get a lot of lens flare. But the reds will be a little bit less strong. If I lower the light output, I get less lens flare, but the rest will be more saturated. 12. 12 High contrast and light in light: Okay guys, we are back in the studio and I already told you guys that I absolutely loved that flesh banner from rogue. And one of the reasons I love it is because you can do so much with it. Of course, you can use it as a little softbox, not my favorite setup, or as a strip light with a grid and that's without a doubt my favorite setup. But you can also fold it into a snooze. But where I actually love it is what I'm doing now. The main thing about the flesh vendor, and this goes for almost every light source if you want to be able to steer the light, but most of all sculpt the light. Because let's be honest, if you have interesting light, the image will get more interesting. That would speed lights. You can get a lot of accessories. Just shop around on AliExpress or B&H Photo or other arm are any big cameras stored at supports, speed lights? Most of the stores do. And just look at all the accessories. But don't just look at the original accessories. E.g. also go to a do-it-yourself market and try something with materials. You will get absolutely creative when you see what you can do with materials like gels or shoot through materials, it's just awesome. But in this case, we're going to use the flesh Bender and that's an official modifier of course. But when you look really closely, you can see that actually folded the flesh Bednar. Now, bounced cards are available on the market in a gazillion variations. And what a bounce card actually does is to stroke aims up and bounce cards make sure that that light hits your model. And in that case you get a nicer software quality of light because it's a little bit indirect and it makes the light a little bit bigger. In this case, we're doing something completely different. We're still using it as a sort of bounce card. But by folding everything we can take light away from the backdrop or actually give more light on the backdrop. And this is one of the coolest things about the flash banners. You won't get the same results every time. But that makes it more interesting. So let's take a few shots with only the flesh vendor. I love shooting under an angle like this. But you can also see that we have a problem when I'm shooting on it this angle. And that's actually, our model looks great, but it's also a little bit dark on one side, right? So what can you do now in Photoshop or Lightroom? You can of course say, Hey, let's open up the shadows. Let's give it a little bit more of that shadow detail. But yeah, Photoshop, Lightroom, it's way better and also cooler when you do it on set. Now, when you do it on set, you can also be a little bit more creative because everything blends together nicely. If you add something in Photoshop, It's always something that you add and you can do it great and it looks convincing. When you do it on the set. It just looks better in my opinion. So what we're having here is a dome to make light omnidirectional. And under the dome I'm actually using a red hair gel. I loved the red backdrop. I love her white clothing. And I think with a red gel, you can actually open up those shadows. Now, how strong do you place these slides? And that's something that's a very personal. Let's just turn it on. And remember group a and group B. So when you want to change settings on your remote control, it's group a or group B. So it's not one-fourth power. Let's see what happens. And I want to open up the shadows and give it a nice red. Excellent. Really liked this. Now let's say if you want it a little bit less, and I can understand if you want it a little bit less, go for group B and just turn down, let's say 132. Oh, this is nice. In my opinion, this is ladle. So let's turn it up. Let's go into middle. Yeah, that's nice. Let's turn it up a little bit more. I think this is perfect and is actually getting very close to where we started. Nice needing look a little bit more towards the light. Love those shadows. Nice. So as you can see, I call this technique often light in light for the very simple reason you using light, which your main light to open up those shadows. But when you combine it with a gel, you get something that's really creative and just opens up options. Now to put it into perspective, we use the ROCC system, but you can do the same trick which your studio strobes you can do with outside, you can do with, with any system that you want. The only thing that you have to be careful for it. You don't want extra shadows on your subject. So this is actually why we aim the dome up instead of at our model. Because if I aim it at my model, you have the chance of double shadows. Now, of course we have a ceiling, so we're also using the bounds from our ceiling. But don't worry, if you're outside and you don't have a ceiling, you can of course, use a reflector on top. But because the dome is omnidirectional, it will actually also hit your model. You will need a lot more power, but in that case, you just move the stroke a little bit closer to your model. And that way you solve that problem too. This is one of the tricks that I love to use in almost every photo shoot on-location. Light it and you see it and you go like, Wow, This looks amazing. And then just add a touch of blue or red. The two, for me, most emotional colors that evoke emotion. And at that point you really get a nice looking image. I think that's it for this setup. Let's go for the next one. 13. 13 Conclusion: Hey guys, thank you so very much for watching this class. Now, I hope that the thing that you get from this is that speed lights, of course, are awesome to work with. But most of all, they're very, very creative. Now, if you're in a studio and you shoot mostly with big strokes like me. Small strokes may seem a little bit like that. Small stirrup that's for hobby or strabismus. I think you really underestimate the power of the speed light. In my work, I of course work with many different strokes and also continuous lighting. But I find myself the most creative when I start working with those smallest strobes. First of all, you can place them very easily wherever you want. But most of all aldose accessories, and they just fit in your pocket. So when you travel, you just take two-speed lights, a few extra batteries, and a system that fits in your back in our case than the Rogue System or whatever you prefer. And on-location you just grab those two strokes and you can create some awesome images. Do you want to see some of those awesome images we took while traveling? Well, there we go. I didn't do like that slideshow of all those images. And they were all shot with speed lights and very minimalistic accessories. Because let's be honest, if you walk in New York, you don't want to grip a lot of stuff because well, you want to shoot, Hey, you want to be done, right? So speed lights are awesome for that. If you have any questions, please email us or find us on social media, I will answer all your questions, of course. Thank you so very much for watching guys and see you again for the next one.