Hello ladies and gentlemen and today I am going to be showing you how you can edit your wildlife photography in light room. Well at least I’m going to be showing you how I’m editing the photography that I took in my last trip from Birdland and from long lead. And we’ll go through the whole process here on my computer just after this. Yes, so if you haven’t seen it already, what I’m going to do, I’m going to take the photos that I got from the last blog that I put up, which was the trip to Longleat and Birdland. And I’m going to actually edit those live on the live I mean, I’m live I’m not dead yet, on camera. In this particular video, you’re going to be seeing exactly what I do and why I do it. That’s going to make the photos look the way that I wanted them to. So we’re going to flip over to to light room right now. You can see this is the first image that I had. What I want I’m going to do at the end of each photo vlog is to have a hero shot. So that’s the shot that I’m happiest with at the end of the day. And that’s the shot that I’m going to take you through the following week and show you what I did to it in light room and why I did it and sometimes in Photoshop and it should open up an awful lot of interesting things that we can we can explore together. And obviously I want your your comments and things about that in the comments below. And of course you could leave a light and of course subscribe to the channel as well. And of course I have to say that because I’m appeasing the gods of YouTube when I do so back on to the Flamingo now. This was a shot that I wasn’t expecting to get. Partly because they were moving so much I didn’t think I get anything much with the flamingos but I had an awful lot of time to stand there and and take some shots and what I really love about this is this beat down here, this little droplet. It’s just hanging off his beak. I think it’s fantastic. It’s a nice sharp shot. I was, I think I did this using group mode on the, on the camera and that gave me a bit of a sharper shot than I been having when I was on. I was on single focus for a lot of things I did. So pleased with the shot wanted to edit it. I love the shape that this neck makes here. I absolutely adore that. I think it’s brilliant. Would it have been nice if he was fully in frame? Yes. Okay. Yes, it probably would have been. But I think sometimes with wildlife photography, you get what you get, and you just have to accept that you know, so that’s where we are. Okay, so the first thing I’m going to do with this image is something that I do with most of my images, not all of them but a good portion of them. And I learned this from surgery family, so I’m not taking any credit here where it’s not cheap. He He does this to all of his videos highlights down, shadows up whites, we’re going to take to the point now, if you grab the white slider there and hold the Alt key down, you can actually see if I bring that right up, you can see where it starts clipping. And the other good thing to remember about this is that you can also see what it’s doing to the proper photo. If you look up at the photo navigator up there, you can see that it says it so you’ve got some idea of what’s happening to the picture. And you can see technically what’s happening, whether anything’s been blown out or anything so that’s what I think is a is a good idea and I’m not going to take it actually that higher but I’m just gonna take it to there because that feels about right. And as much as anything else you go with what feels right I think with a lot of with a lot of Photoshop, sorry with a lot of light room stuff. Blacks is is next. And again you’re going to pull that down so that you get black or blacks. That’s the that’s the idea. And again Holding down your out key and doing that you actually get to see how much is going to be completely black. Now my feelings on this are, and it seems to be backed up by other people who’ve done the same thing that you can actually you can push your blacks a little bit more than you can push your whites because we’re kind of used to seeing pictures where blacks are incredibly black, but we’re not used to seeing pictures where whites are incredibly white. So that doesn’t look quite right if you’ve got something which is completely blown out the exposures far too high. But if you’ve got blacks that look really really dark inside the the image, well we kind of we’re kind of okay with that. So, here where we’ve got this black beak, for example, well that’s black, that’s fine. It’s perfectly okay to be black. And that does of course, bring a little bit more structure into the image as well. So the other thing I’m going to do first of all, scroll right the way down here, remove crap chromatic aberration and enable profile now, because I’ve shot on it’s the Nikon 18 to 300 millimetre lens and because that’s in the metadata light room knows that that’s in the metadata and we’re fine it’s done it’s perfect. Okay, from there on the next thing I’m going to do is crop it which I know you know cropping and and making sure that it’s straight I think it two incredibly important things that don’t always get done. Order always get done at the right times, crop this now and what I really wanted, we’ve got the rule of thirds thing up here, which is good. Well, I gotta change the aspect ratio to four or five because I do all of these for Instagram. You know, that’s, that’s the main market that I’m looking at at the moment. someone wanting to do that to to make sure that you’ve got something that I can use online without having to mess around with it too much. What I want is this I be dead on here because I want people to be drawn to that I it’s a good idea. It’s a nice, nice, nice if I bring that up until it’s right in the centre of that and then I put that right in the middle of that frame. There we go. That’s the crop. I’m quite pleased with that crop. That crop is good. Now the one thing I like about light room is that actually you can go down this list of stuff and you can go cross this list up here and you can pretty much just say okay, that’s the process that we’re going to use in order to process stuff. Now what do we got here? textures I think probably next texture and clarity. I like putting textures up. Let’s just put this up a bit to something we can go quite high on this sometimes. But I suppose it all depends on what you do with with with with everything else. You want to D Hayes I quite like the hazing it but you don’t need to do to my you know, not listening mentors you do and it does darken everything down. So you’re gonna have to sort of mess around a little bit with that to, to kind of balance a date, but I would rather do the text using the D haze in the present stuff before I go back and have a look at the exposure because on the whole, the exposure isn’t too bad with something like this. So I want to add any clarity to it at all. Let’s have a look. I mean, actually, actually, that doesn’t look too bad adding clarity like that. So maybe we’ll just add a bit in just to give it a kind of a hint of of it. And obviously, we’re going to want to up the the vibrance because these pink elements that we’ve got here we really want to bring that out. So actually the vibrance is quite a long way. And what I quite like to do with with the any of these sliders to slide them along, kind of see what I’m adding in and water faking it really until I get to a point where kind of happy there that looks about right? That looks about right. But it’s still not quite as as colourful as I’d like nothing, perhaps will bring in some actual saturation in here, it doesn’t need to be a lot. You see just the difference that that makes us you just bring that up just a little bit. So that’s so far I’m quite happy with the I is nice and sharp, you’re you, you seem to be drawn to it, you’ve still got this nice shape, you’ve got a nice colour in the beak, and that was close to the colour that we were getting there. You have to remember that actually, this was quite an overcast day, so I can’t expect miracles from this. Although it’s not doing too badly so far. Now, let’s have a look at what we’ve got our colour temperature, it’s a little bit yellow, it you can see this yellow on here. You just want to get it doesn’t need to be just a little bit, a little bit less. So Take that time. That’s too much. Too much. There we go. That’s, that’s better. That’s better. You see that’s just taken off some of the yellow the thing because the thing that you remember about flamingos is what they are pink. And they’re white or they’re, you know, they’re not yellow birds has just taken some of that that yellow, they just had to balance out that colour. And you can see actually, I think that’s just made this pink a little bit pink here as well. I’m quite pleased with that. That’s, that’s, that’s fine as it is. Okay, next up. I’m not sure we need to do an awful lot more on on on these basic things because it’s looking all right. It’s looking right. But I will come down here and then I’ve got the Hue and Saturation panels like this. You can if you don’t see all of the He’s because this is confused me when I’ve been talking to my parents about this. So here we’ve got hue, saturation and luminance, all and you can choose whichever ones you want. And I quite like having all of them up at once so I can see what settings I’ve got for the other things, you don’t have to do that. It’s just it’s personal preference. You don’t, you know, do what you want. We have the audition shuffling down here. And because we’ve done pretty much everything that we want to do with the image, for this, I’m going to add a bit of sharpening And I might add a little bit of noise reduction in as well because although it’s not very noisy and it lightly you know, it’s a it’s a we’re not taking a massive crop out of this and this is the 20 megapixel sensor 17. Right. When I add this on, suddenly it will be so let’s do some sharpening here. Now, I always find you can push this quite a long way. I don’t know if you can see the difference. Maybe not on screen, but you can actually on on on the image and I can definitely see in here where it’s actually making a bit of a difference but I do just want to reduce some of that noise as well. Take this a bit more than that it’s it is a bit difficult to, to kind of judge it sometimes and take off as well. And again, a lot of this fat, a lot of it photo editing in general is just your personal preference. If you get to something that you’re happy with by the end of it, then that is great. That is absolutely fantastic. That’s what you’re here today. That’s That’s fine. Okay, so we’ve done on lens correction. I’m going to add a vignette to this as well. I don’t do it with everything. Because I think sometimes you can overdo vignettes. I mean, you’ve seen you know, if you do something like that, I’ve got some brilliant pictures where I’ve added a massive vignette to it. And then, or I’ve added a radio gradient, which acts like a vignette and then taken away little bits of things. You don’t always have to do it. So this is too much, clearly this is too much, but that might not be so we’re going from going from that. Take it down. Yeah, just a little bit. Because what I don’t want I don’t want this to this background to detract from the, the image itself. That’s, that’s important. That’s very important to me. Okay, so we’ve done that. That’s all good. Let’s take a look at the image again. Okay. So is there anything on the image that we think might be bit distracting Is there anything because the next thing that we’re going to come along to is is spot healing, basically. And the only thing that I’m looking at actually here that I think might be of any relevance is this bit down here. I’m not entirely sure. This bit down here is is is right assigned into switch, use the thing there a little bit and we’ll take this up a little bit as well. Maybe, maybe the Irish probably do. And I just want to get rid of this because actually, that’s the back of the bird. But do that and then we’ll pull this over somewhere. I can see that just takes just takes a day. It just I know it’s a very subtle thing. And I know that a lot of people might not even see it, but for me that was just a little bit better. That’s a bit so for me that little bit was a bit distracting, but where is now it looks a little bit more like water. So that’s, you know that that’s the reason for doing it. And like I said, now that we’ve been doing this basic corrections thing, these extra corrections across the top are going to give us some more options to play with. So, couple of things, I don’t want this detracting from what we’ve got. So we’ll bring in a gradient up here, and I’m just going to stack until we get this may be here, this would be the start of maybe masking eight, the entire bird from the background, but we don’t want to do that. We want this to be really quite, quite subtle. So we’ll set reset everything to zero. And we’re just going to push this down just a little bit. Just a little bit. It’s, he does look like it’s it’s sort of coming out from the background. The idea and perhaps again, we want to do a similar sort of thing with the bottom as well. So perhaps we we take that, push this that, so that again that these little bits of light that are reflecting off the water don’t actually detract from what we’re looking at which is the main, the main bird. Now looking at this actually, the whole thing, to me at least is looking a little bit too too dark. So I want to come out of that I’m going to say done. I’m quite happy with the way that those are working. But what I want to do, I just want to push the exposure up just a little bit. Just really, I could go quite a long way with this. I suppose you have to go. That’s better look that’s nice and bright and those as to that’s, that’s about right. It’s nice and bright. You’ve got a lot of colour in there. You may be still little too much, man. No, maybe not. I think that’s going too far. Isn’t that okay? Well leave it at that, can we just too much, that’s too much. Got to be careful with these things. Sometimes when you’re doing little settings that you don’t think you’re going to be too much, they make a massive difference to the overall picture so that I could I like that I like a lot. Now, there’s still a few problems here. This bit around here. I think it’s too bright now. Because we’ve darkened down the top up here. And that’s great. I can see there’s a separation there. But the separation that we’ve got underneath here, not quite so, so good. So we were going to need to deal with that. What are we going next? What are we doing next? Where Where were we we’ve done the gradient Okay, so we’re on to the radio radium stuff and I like radio gradients. They are wonderful, wonderful thing. We will start off I think by doing this. Okay, so I’m going to, I’m going to zoom in one to one. And I’m just going to see this just really tiny little bit of we’re going to push the feather up. graded, so many things with turn this on a light that extend a little tiny bit. So that’s what we’re going to do is we’re going to put a little light in it. Set the exposure to zero, by the way, double clicking the exposure single set it to zero. It’s quite simple. If you’ve got a bunch of effects like this nice think is it double clicking on the effect or take it all back to zero as well. Really useful if you’re just playing around with stuff and you want to take it away easily. It’s a really useful way of really useful sort of thing to remember. So we’re going to boost this we’re going to boost it considerably too much. It’s about there to get mad when you then take this back to the full thing you can see how his life is is now a lot brighter, it’s it’s a lot more and yet we’ve not brightened up the whole lie. We’ve just brightened up that bit, that little bit. The other thing actually though the saturation on this, now that I’m looking at it, it’s very, very yellow. And what we really want is something which is a bit whiter as if a light is shining in that light. So we’re going to take the saturation, we’re just going to pull that until be a bit much again 90% of these things is to taste so if you don’t like it, if you decide, that’s not for me, that’s fine. You go with what you think is right. That to me, feels about right now I could turn this off. You see the France This is making just having that little bit of late in the eye, it’s just giving it a bit of definition is just give me a bit a bit of depth to the whole image. Now that’s something that my parents taught me. So that’s old school photography there to get that, that light in the eye and they do this on Photoshop. So, you know, it’s really cool that you can still do that sort of thing with with this sort of thing yet, well, I’ve been talking for 20 odd minutes. I don’t know what I’m talking about anymore, obviously. Right. The other things though, the head is too is too dark. So we’ll grab a new will reset all of that, again, we awfully on, this is fatigue. But it’ll bring this in here because you really to kind of affect the head and nothing. Eventually. Maybe. Maybe we do a bit bigger. Perhaps, and really simple on this, we’re going to bring down the colour temperature and heads I do think just on that pigeon. Again, he just see if I, if I turn that off and turn that back on again, you see how it’s just taking that little tint of yellow away which I think if you apply it to the whole image, you lose something but actually just on the on the head, it’s making a bit of a difference. We are going to lighten the whole thing up as well. So we’ll just push it a little bit you can see how these little changes are actually making a difference. And again, we’ve got a much whiter more vibrant head and that’s what I I like but one of the things that I quite liked him when you’ve got a radio radiant like this is you can actually push up the contrast a bit or push up the clarity a bit. So let me just show you what I mean by that. So you can push up clarity like that. Really get real, you know, clarity here, but for this one I wanted a little bit more subtle. So I’m just going to push the contrast of the whole thing up. And look, it’s, it’s a different effect. So that’s the contrast, right? That’s the clarity. It’s, it’s a subtle difference. But I quite like that because it’s because of the way that it’s evening. Everything outside a bit i what i like with these birds, really is that they’re, you know, wildlife I think sometimes needs to be subtle, it needs to be almost sort of painted and I’ve got nice definition on here already. So I don’t want to push it up too much. But adding a little bit of that contrast there I think, actually brings out a little bit more of the image, which is what I’m after. Now, the final thing that I’m going to do on me on these and in fact this is probably the last thing I’m going to do on the on the pitch because So far I quite like the picture is to get a massive radial gradient here, we’ll put it under, again, doesn’t matter. We get radio gradient we’re going to put under there. We can go over this a little bit, we can go over that a little bit. And just in case you’re wondering, I’m looking at, I’ve got some the screen setup. I’m doing roughly the same things as I did with with this last time. So you’ll see how to create the effect that I’m going for. Now raindrops are gonna leave off. What I’m going to do is drop the exposure on this right the way down really so you can see what we’re affecting. And then we’re going to grab the brush, brush up there. I like brushes an awful lot. I use them an awful lot and all we’re going to do here is start to paint in this we’re just painting in This this area up here. And if we wanted to raise, you click on the erase button there and you raise bids from here, so we’re not affecting the bits that we don’t want to affect. And I quite like the way that this is falling on there, it’s giving it a shadow, it’s getting a bit of of depth, that’s fine. But we’re not going to leave this like that because that would be silly, because all we really want is something which is quite subtly bringing down the light there. So we’ve got again, we’ve got that separation of the flamingos so nice, nice and simple. There you go. That’s all we need. That’s all we need. And that’s it. That’s the finished picture. They have it. That’s how you create a flamingo from your original RAW file and we’ve gone right from that raw image all the way through to the final image, which I like. Genuine like genuinely like this this image very have been very happy with it since since I saw it so yeah, there we go now, usually at the end of this is how I do Photoshop Tutorial that’d be it but if you remember the the lonely Birdland wildlife photography video that I did last was broken down into two sections and Birdland was just the very first section. So I’ve got another image, again to take a look at today and this is it. It’s the image of the lion and I do all this image, I absolutely adore it. So on the on the original image, I used one of surgery, Malia’s presets to do this, I use the magenta to preset. I’m not going to do that for this particular one because I want to show you that actually, you can get a pretty good representation of what you’re you’re trying to get just by using the standard Adobe stuff that comes in light room. So I’ve set this not to Adobe colour, which is what it is a standard, but to Adobe landscape because actually, it brings out some of the colours that that I wanted with this. Now, if you look at where the white balance is on here now I want to kind of very Serengeti kind of look for this. And I’m not going to get that if I don’t drastically change the colours that we’ve got coming up here. And this was shot on a very, very harsh sunlight day at a time when, actually this was later on in the day when I got this particular shot. But still, there’s an awful lot of harsh light on here, and we need to, we need to control that in some way. So the first thing I’m going to do is bring that exposure down, I think, quite considerably, not maybe not that considerably, but maybe two there. Okay. We’ll be pulling this around a little bit so that there’s this there’s more to it than that you did. We’re not just going to leave it that but again, what we’re going to do here highlight today Shadows up. Again, we’re going to do the rally looking at my histogram as well that looks about right for that and it will take the black standard as well. No clipping, clipping a bit. That’s probably right. Okay, that looks bad, right. And anything else I’m going to do before I actually move this on now Okay, so I think that’s about right for those basic settings there. But like I said, we need to warm this picture up. So first of all, the reading this we’re going to want to push some read it in here. So We’re going to push this up. We don’t want it to be too much because we need a nice subtle red. You’ll see why I’m saying that in just a minute because now we’re going to grab this blue and we’re going to take a bunch of blue out of this image. So we’ll move this up. You see we really realised when I said take a bunch of black we really are pushing the blue up on this so much. Now in this one, unlike some of the others that we that I’ll be doing over here, I’m actually going to be using the HL sliders as well in order to get a bit more a bit more control over the colours as well. So what this looks like right now isn’t what we’re going to be getting in the end. And you know, you’ll see that but what I will do, put in some texture, I like the texture, brush a lot the texture slider a lot. I think that’s really it’s really cool. It brings up a lot of of it gives you a lot of detailed way. You probably got Detailed already before and put in some saturation, sorry, the haze and it’s going, that’s going to help to make the image pop a little bit. I’m going to put in some vibrance as well. And actually I’ll I’ll go quite high on the vibrance for the time being. And you’ll see some of this start to come down as we start to play with some of the features of it. And the other thing I wanted to do is I want to raise the blacks a little bit up here. So I’m going to put a single point here. We’re going to go here, and I’m not gonna raise this up too much. Because it’s a bit hard, but just going to add tiny little 5% into those. Now, can you can you see the difference here? That’s it with with no term curve on that’s it with the term curve on it just gives it a little bit more of the kind of look that I’d want. Okay. So where do we go from here? Okay, so, the red we want to shift the hue of the red, we don’t need to do it by too much. But we just want to bring that red towards towards the pink as opposed to towards the orange because it’s a very r&g sort of photo. So we’re going to take that down just a little bit up here and this is in the hue. You can see the difference that makes we’re not we’re not an awful lot with it just it just makes it a little bit of a difference. And we’re going to do the same thing with the orange as well because we don’t want we don’t want it to be too orange, but at the same time, we don’t want to be too Greenie as well. All of this, using the HS is all about balancing the colours so you get the right colours for the look that you’re going with. Now, you this is the thing you probably use the most is the saturation and you can pretty much Tell which colours you’ve got on saturation, reds and oranges, when you’re doing this sort of shots, they tend to be the ones that you push up a lot. But you’ve also got, you know, colours and shapes, and see if they actually have any effect to your image, which is how I’ve done it. I’m not doing anything special, I don’t have any special knowledge. I just play around with stuff until it looks right. So one of the things that I was told a long time ago, and when I say a long time ago, I mean back in June, was that Nick on have a particular colour. When you talk about green, they call it Nick on green, and it doesn’t quite look like the sort of green that you probably think you want to make you want in your image. So with Nikon cameras, sometimes it’s a good idea to pull that green down. Now I do think that this is something that the amateurs and sort of semi pros seem to say, because they’re shooting in harsh daylight, you know, they’re not shooting At the best time to shoot because like me, they might be in a in a wildlife park, which closes when the best light would be around so they don’t have that opportunity. So that that’s one of the ways that you can help to control this is taking a little bit of the, of the yellow AC, I’m not doing a lot not doing it. So the massively could do and it gives you a nice effect. But that’s not the purpose of this just to subtly control what you’re doing here, very, very subtly control you’re doing here, because this orange and this red, you do want to push, you do want to have a lot more reading your pitch. You do want to have more orange in your pictures when you see what that’s doing to the image as we as we add it in there. And you might not like this. This is personal preference. But like I said earlier, you’ve got to kind of try and control that light because we’re taking sort of harsh light with very similar colours. And we want to add that kind of Serengeti look. And that’s the kind of Serengeti look, you know, that’s the look that you would get if you had the sun. right the way down. And that’s, that’s what we’re after. Now, I’ve done some other pictures with some lions in where I didn’t go for that. And in several weeks time, it’s the week after I do the Westfield Safari Park thing, you’ll see how it is one of those images, and that again, it adds different colours in but I think I when I first did these images, this was the first photo trip I didn’t want the first time I’d go out and taking photos, even with the camera that I was using, but it was the first time that I sort of thought, Okay, well, we’ll do this, and it’ll be a worthwhile trip to see something. And I gotta say, it’s I wasn’t as good band as I was now. And that’s the Great thing about doing this I have learned so much about how to do stuff like this, which I’m really, really pleased about. However, OK, so we’ve done our basic colouring out there. We’re not gonna bother with aluminium, copper happy with the luminance. We’ve gone again I take the HL have been much as much of a difference, but you do just see it go from a yellow colour to a more orange sort of colour, which is what we were, what we were after that highlights and shadows. This is something that Hollywood does an awful lot and because I have a background in wanting to do films and things. What you do here is you I’m sure you’ve seen somebody do this before you put the highlights on to orange, you put the shadows on the blue, and you just raise those up slightly until you get the sort of setting that you you want Be there and saturation on will take them to something like that and again that’s where you started. And then what this is doing is is kind of just backing that off a little bit. So you’ve still got all of the the colours and things there but but it’s not quite so. So in your face now again shopping on something like this I’ve done this before gone kind of 90% on here and it looks perfectly fine there’s not too much grain in it I do put a little bit of this on and and I’m not going to bother actually with the colour but I will put a little bit of noise forgot profile on but the luckily the good thing about this is that it kind of does it for you. So you don’t have to worry too much about that. And I am going to add a post krim vignette to it which will be a lot higher than you see This is the this is the point where the photo really kind of takes on the look that I wanted to care for it. Because as we’re adding this thing yet, you see the blacks aren’t properly black. And that was the the point in doing this tone curve earlier on was was just to give it that, that kind of look. So that’s a bit much, although it’s not know where was that that was roughly where I’ve had it before. And we’re going to change the midpoint a little bit, just just bring that up a little bit. We’re going to change the feather as well. Leave but the changes are highlights on here as well. Now you can see what’s happening here on the left hand side of the screen if you see what what changing this allow some of the highlights to come through the crop. Which is quite useful sometimes. There we go. Okay. So those are our basic settings. And I don’t want to spend too much time doing the rest of this because I realised that we’re running into a point where we’ve made a very long video and I don’t need to get bored with it. So first, first thing that will will do over here is the crop. We’re going to see if I can want to align that see if it comes up with anything. No, it couldn’t. But will. That looks better and we’re going to squish that down to there. And say, We want this roughly in the middle here. Like that’s not good enough. I like that. That’s, that’s nice. We’ll go on to Oh, should I do anything with that? Now, the big thing here is because I’ve chosen Adobe landscape. I could have chosen Adobe colour or standard or something like that. It’s not quite giving the colour here that I wanted to have. And I think the big problem here actually ends up being the vibrance and saturation. I don’t want to turn the vibrance down too much, but I can sort of old on the saturation, so they get roughly the sort of colour that I was I was looking for. And you see that’s, that’s gone from very bright, very over saturated to just a little bit down. I’m not saying you know, 16 minus 16 is not an awful lot, but it just taking it down there. That’s all I’m going to do with this image really. I don’t think it needs an awful lot more. I don’t think it needs the sort of modelling that I’ve done on on on other images. If I did think that actually what I could decide to do is to bring up some of the contrast perhaps, of course, as you bring up the contrast, bring up the colour again, which means you probably take some of the saturation out and you do want to make sure that you’re not blowing it areas of there. But there you go. That’s it. That’s Arline picture as it was done on the day, I hope you’ve enjoyed this video. If you do, please give it a big thumbs up, give it a big like, and of course subscribe. That’s really good. Any comments, any questions, leave them in the comments below. I will always say if there’s something that you think I’m doing wrong, because I’m still learning this stuff, and I will keep on learning this stuff until the day I die. If you think I’m doing wrong, something wrong, let me know and I will try it. I will try it on a different video and see how it works. Because that to me is a much better test than than just ploughing on with what I’m doing. You know, I want to make some, some real leaps and bounds in my own photography. And hopefully by doing that, and by seeing me do that you’ll be able to make leaps and bounds in yours as well. Hope you’ve enjoyed today’s video. Like I said, please to give me a big subscribe because you know what? It’s my birthday today. And I really, really would like for a birthday present. If you just hit that Subscribe button and hit that little icon as well. Until next time, thanks very much for watching. Next week we’ve got a new photo vlog. So I’ll be in a new place doing new things. I’ll see you then.