" War. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Hello and welcome depicts a part of me knows -- non android until -- show we're continuing our discussion that we had last week. With Stephen Johnson world renowned photographer and author of many books including his name is which is Stephen Johnson on digital photography. Really -- book and in the background right now we have one of his photographs called cattle. -- right there. That happens to be recoverable. Not all of his books the central valley book the great central California start to go with that the whole thought is that the whole -- can actually you can get all of this information go to. As Jake photo dot com that's -- as skate photos thanks Stephen Johnson photos that company could be all about Steve. It's -- have to thank -- sponsors for putting us here. We've got a dot com you can keep your personal information away from spammers hackers -- crazy ex girlfriend. Private domain registration from go -- that it protects your privacy by keeping your address phone number and more out of the public database. And I want to back Netflix. You can run over 100000. Titles online including Blu-ray titles with free shipping both ways to your home. Now with over forty shipping centers almost all of them that was happening just one business day. Plans start from the four dollars and 99 cents -- new member you're getting no risk to weekly top trial membership. You can check the whole thing -- www. Netflix dot com forward slash pixel perfect and remember you do have to type in net WWW. And you use in this code. So what we're doing now this week is devoted to continue our discussion. Now Stephen Johnson as we talked about. -- In the mind when your. Finding that perfect photograph and going out there and shooting that we got to talk about that is what you do that photograph that these statement. You put on the web for a Flickr this that the vehicle by which you can display stuff but most important thing of course is paper. Going to put down on paper says that can see it pay an annual or. Pop the Bean's difference that I am making money -- photography. Apparent how to get on the paper -- has been influential. With quite a few companies and the technology of getting stuff the papers. This is experience goes way back. That you work -- what happens with these guys."

" I don't know -- account but certainly twenty years in the dark room for a digital printing came along. Then in the early days of digital printing working with -- colored -- of the -- printers in the late eighties and early -- than on my iris with the first of the ink -- on the big problem they gave us the ability to put -- photographs of real rag paper which is powerful cameras nowadays -- well integrated into any harm any material you can imagine Alex's wanderers. And then in two -- some of those big panoramic -- talked about last week as they -- the -- the large format printer is. And -- the -- on the small -- offenders and then got them entrusted with other people and -- so we can actually conference the hospital on time. And then with HP. Again in designing some of their latest printers. So that's an HP. The current company -- all the time in terms of their products. And go back and forth depending on whose interest in talking to me at the time. Yeah."

" But as my viewers saw few weeks ago I would be my studio and it's crack if you have to -- I'm -- bond there there's technology. And and results that I get from. For those things. And colors. I remember back what I remember you've been to -- somebody remembered in the -- forecast. -- good thing here is that -- 25000 dollars this little thing in an -- that it -- window green -- mean they've they've lost all -- their color but at a time I was like -- really cool and and lot of my images just wouldn't reproduce causes -- saturation -- that we have a the twelve colors and we're getting. Of photograph that look like they did that -- film you have to go to see diploma from the beginning you know paper you -- release of color and I think that's really exciting to be."

" We're home we'll die some relation didn't have quite the problems -- the forecast isolation and habitat they had its own particular shortcomings in my Kodak prints from -- eighties and early -- are still quite vivid enough. So they they did have a great deal of longevity in their initial reports. But when you talk about getting. The image on the paper in many ways is a photographer that's the only point that I really feel that the image the photograph the -- Because I've been -- print -- sincerely 1970s. When I first started doing photography. And that process of realizing the photographed him over and other community. Means realizing a photograph onto piece of paper. And so that final print processes and -- vital to my expression of my photography. And in every form and I can think of a gallery is the place from where Hussein. And whether it's someone's wall in their improvised home gallery here in the formal gallery and those of the kinds of places. Give the photograph a chance to be in can be seen to be appreciated in ways that. Go right back to the motivation picking up the camera to begin with -- of share something. And I teach a lot of digital printing classes. And -- have the same opening slide about. The challenges and rewards of -- I say that perfection maybe even go but I've -- she didn't. I also say that printing is joyous and painful then from that magic of the image coming up from the -- home. In the darkroom where you first saw. Or the inkjet printer first becoming visible is that comes out of the printer there is magic there yet but some time is of the paying. And giving it to be exist exactly what you want it to be that these this nears the technology allows us what frustrates people."

" Well I first seen things called the 1900 I'm thinking. The amount of paper and ink has gone there before you start to see it is that. Hole when they boot it's gotta go about this part of right oh my god that's not good ya gotta stop the -- but there is there is magic they would start to actually see this thing coming is in this one they received -- of the cameras went into CNN the camera. Going to see you on that paper especially big. That's what it really comes to life that's on the emotions really start to strike."

" Well unfortunately. With every step of the photographic process were essentially. Funneling a larger reality. Into a smaller set of color capabilities. The camera. -- really can't encode everything the GICs more that is there so that becomes they funneling mechanically if you will into whatever the silicon record. When we bring it into Photoshop we impose color definitions on those. Recorded values than it actually becomes define color that's what working -- faces -- But then of course the task is to get it on to a piece of paper which is yet again a subset of color possibilities. And so with each of those steps. That really helps to employ a well color managed work. Because color management really does work maybe not a 100% but certainly in the high nineties. And so many people are looking at their photographs and experiencing them. Without even calibrate their monitors much less driving a profile of those markets. So step one if you've got to calibrate and profiling your monitor. And that have to be done with external -- hardware. Otherwise your portal into your digital photograph is out of control by definition. And certainly that's the biggest haul the printer companies did. Your printer doesn't look like my monitor well unfortunately half the time -- monitor doesn't look like they're file. And that's the problem there so we have this first step of making sure the monitor is calibrated. And then trying to get through the printer dialogue boxes wastes. In some ways they're almost like navigating through -- Rather than a straightforward series. Questions and answers your logical and laid out a new ways that the average person can follow. It seems like so much of what we've battled back in trying to teach people how to print this trying to do you code. Rather poor user interfaces that are designed into these printer dialogue boxes. So that if you know if you manage the color front. In Photoshop you've got to turn off color management later on in the -- senator HP or -- driver. But to see the relationships between how that works."

" And to make sure that you do that in sequence that is logical. Is a bit of a challenge unfortunately it doesn't need to be just currently hints. And a lot of people print before they really finished editing their file. They in fact take it to a certain point not really know -- quite it will print my cannot really knowing exactly what they want. And they end up printing in the -- editing their file for basic appearance issues that has nothing to do with the -- necessarily. But because they really didn't fully understand what they want of the photograph to look like to begin. If it's amazing that much time we spent an -- class. Just working on image --"

" A question I had a lot from people who is like. Profiles yeah where these profiles is that a side view of the picture now what are these profiles will help crucial other profile that I know did you break your own programs for a lot of stuff do you live specific profile -- piece. No we're not quite at that point yet but I think that we need to get -- hands."

" Our good friend Bruce Frazier and I had a few arguments about the value I'm convinced there is value Bruce wasn't. But before we go down to image specific profile let me ask -- bigger question which is what is a profile it's basically a description of the color and little woman's capabilities of the device. Whether it's a monitor or whether it's ink on a particular paper with a particular set of settings and so I guess I have a printer profile for. The -- you love museum -- paper that I work with humming along designing. That means I've got a profile. Of that paper on a particular printing printer. -- a particular set of settings with a particular I think. And so profile as the color capabilities that that combination of settings can deliver. And it describes they overall set of capabilities. That Photoshop -- and transform the colors of your photograph. Into what the printer can print. And therefore that's how color management creates that printing --"

" It's plug let -- to see you have an image that's like. The one we saw behind this last week which had a a lot of blue moon behind is not right now I have a lot of -- and that brown at the bottom. But it has -- images are primarily regiment of black and white do we change your profile you have go to the same printer and we tweak in some way or what happens lot of this."

" Point in time I think there might be value -- that long term but the profile. Currently is that profile of the devices capabilities. None of the specific interpretation of this photograph into that device but there is -- value of their long term but that's not we're -- right now there and in fact we're doing it on table based. Calculations not actually calculating number by number placement. So there's error introduced because of the fact that we're doing this kind of primitive way when computers were much slower. Than we could be doing it now so that's my. You know push toward enlarging what the ICC here international color consortium developed the standards as well. So. That transformation. Will not be able come out. Every color that might be in a photograph. Into that exact color on to the printer on a piece of paper it past the map it to what colors that. Printers capable. In the process of that all color might end up getting transformed. And so the print is definitely an interpretation of the file. Rather than an accurate representation. Of file and in that interpretation. We sometimes are disappointed sometimes -- delighted. Sometimes we have to make modifications and our expectations. Sometimes we get surprised and see things in the print. That we never. Imagined being there in terms of nuances of tone color the delight -- naked it can really go back for more all sorts of last. But that doesn't mean that the degree of precision can't be brought to the process. But it's a degree of proficient with other than anything near perfection. And so we can. Take."

" A lot of the variables under control. But we have to do it in a very careful way. You edit your file first. You choose an appropriate size of the print to the resolution of the original file rather than enlarging it all over the place and making your -- look fuzzy and ugly. Having some sense of vision of the beauty of photographs of the you have a sense of what you're photograph might be. Can really make a difference and then we try to -- carefully color managed to transformation into the specific paper. And given that kind of work flow -- you're being careful methodical not making random decisions about making two or more variable changes at a time you really can't take a lot of this wild card stuff and bring it under control computer."

" So -- question I got if these people out there is that you and I would make our own friends but. Both people have these little. -- And print that out of big giant 44 and paper. Okay now we're gonna do they felt they don't profile that should they have profiles on that -- the service bureau it's worth anything will have a profile -- whatever papers that they intend to print and I noticed that a lot of people will complain because service -- aren't saying hey you know his profiles that they just take the thing and and sped it up. So it the the person should be active and request those profiles right."

" Well if you're gonna it's a question of the work flow are you going to transform it into the printers space which is a poor idea generally when more are they going to. And it really should be done at the printing level you really don't want to transform your file into a printer space. Because it so limits the possibilities of the code that can be contained and it limits the possibilities of how you do that restoration. Because it's already fixed in time and space. So that's the responsibility that the service bureau ought to take responsibility for. If they don't have profiles for their printers they probably don't have a profile work flow and you probably want to find the service. Another point would be is that you -- lately ten and that's all your file containing a lot of big 44 inch wide print it probably gonna look fairly poor to begin. You know there's a reason in the history of photography that we care read large format cameras. It's because we -- to create big detail print. That hasn't changed -- digital and I just because you can do an image size and Photoshop and make up all sorts of new stuff. Beyond what's already been made up to derive your little digital camera photographed. From the Bayer pattern sensor which two thirds of its already made up. Years and to think about the fact that if you want a big print you really ought to think about getting a bigger camera or bigger sensor that or stay with large format film -- Because the inherent breakdown and lack of beauty that comes from that over margin I think as one of the down files with the grain and everything else as well. -- it is grant but more often than not just laziness because they're making -- so much and then limit tendency to over sharpen. And over saturated the point that you create all of these really ugly artifacts. And you end up with something that is often a mess. That if done in a more modest fashion could've been exquisite. There's no inherent beauty mark between size. And print beauty it is not an equivalent. You make a -- and that's appropriate to the resolution of the file or maybe slightly larger. That if you get grandiose you really gotta be carrying bigger camera. That is gonna that they wanted to say about the whole color management process that's something people forget about all the time. Is they get their monitor calibrated. They sometimes even do their own custom profiles of the printer but then never control there editing rooms that they have control light and there. And don't bring an appropriate viewing like to inspect the -- When you calibrate your monitor you calibrate it to a particular point point Mike 5000. -- 6500 Kelvin that's basically a color of white. We can now what these compact fluorescent bulbs that are appearing everywhere we can actually get a 5000 Kelvin compact fluorescent bull -- 6500. Kelvin compact fluorescent bulb. And actually in a normal inexpensive -- slam match the viewing lines that we're expecting the print. Under to the white point if you tune your monitor to that's a critical capability because if you're not looking. I just -- in the same lighting conditions that you've calibrated your monitor to you've got an inherit this citizen control again. So it's a very cheap thing you can now do take that final step and make sure that you're speaking the same language."

" Very important stuff. Very important stuff so you guys out there are taking assurances a lot to consider. Don't let him. And even anyway having that to creative juices flow but. There's not considered to make something really look good to create a piece of mark green -- and -- is just clicking the camera it's feeling it. Getting something from it and then that does that convey it to somebody else glad damaged at all these things. -- There's anything you guys would like to see on the show email me at -- and -- we dot com. You don't just got the pixel perfect of that revision3.com. Forward slash form where you can join discussions about the show and maybe even influence the future episode. And you want you like to replace Stevens back here. Yep you can does send me artwork into Burton's vision through dot com and background should it be 1280 by 720 pixels. 1280 by seven to -- And it should be a JPEG file. Hopefully you learn something from all this is put into practice cut out there and play have a good time uses all part of a fun. If you do you love your network dating life with the hopefully next."

" War. This episode of pixel perfect is brought to you by Netflix and godaddy.com. Hello and welcome depicts a part of me knows -- non android until -- show we're continuing our discussion that we had last week. With Stephen Johnson world renowned photographer and author of many books including his name is which is Stephen Johnson on digital photography. Really -- book and in the background right now we have one of his photographs called cattle. -- right there. That happens to be recoverable. Not all of his books the central valley book the great central California start to go with that the whole thought is that the whole -- can actually you can get all of this information go to. As Jake photo dot com that's -- as skate photos thanks Stephen Johnson photos that company could be all about Steve. It's -- have to thank -- sponsors for putting us here. We've got a dot com you can keep your personal information away from spammers hackers -- crazy ex girlfriend. Private domain registration from go -- that it protects your privacy by keeping your address phone number and more out of the public database. And I want to back Netflix. You can run over 100000. Titles online including Blu-ray titles with free shipping both ways to your home. Now with over forty shipping centers almost all of them that was happening just one business day. Plans start from the four dollars and 99 cents -- new member you're getting no risk to weekly top trial membership. You can check the whole thing -- www. Netflix dot com forward slash pixel perfect and remember you do have to type in net WWW. And you use in this code. So what we're doing now this week is devoted to continue our discussion. Now Stephen Johnson as we talked about. -- In the mind when your. Finding that perfect photograph and going out there and shooting that we got to talk about that is what you do that photograph that these statement. You put on the web for a Flickr this that the vehicle by which you can display stuff but most important thing of course is paper. Going to put down on paper says that can see it pay an annual or. Pop the Bean's difference that I am making money -- photography. Apparent how to get on the paper -- has been influential. With quite a few companies and the technology of getting stuff the papers. This is experience goes way back. That you work -- what happens with these guys."

" I don't know -- account but certainly twenty years in the dark room for a digital printing came along. Then in the early days of digital printing working with -- colored -- of the -- printers in the late eighties and early -- than on my iris with the first of the ink -- on the big problem they gave us the ability to put -- photographs of real rag paper which is powerful cameras nowadays -- well integrated into any harm any material you can imagine Alex's wanderers. And then in two -- some of those big panoramic -- talked about last week as they -- the -- the large format printer is. And -- the -- on the small -- offenders and then got them entrusted with other people and -- so we can actually conference the hospital on time. And then with HP. Again in designing some of their latest printers. So that's an HP. The current company -- all the time in terms of their products. And go back and forth depending on whose interest in talking to me at the time. Yeah."

" But as my viewers saw few weeks ago I would be my studio and it's crack if you have to -- I'm -- bond there there's technology. And and results that I get from. For those things. And colors. I remember back what I remember you've been to -- somebody remembered in the -- forecast. -- good thing here is that -- 25000 dollars this little thing in an -- that it -- window green -- mean they've they've lost all -- their color but at a time I was like -- really cool and and lot of my images just wouldn't reproduce causes -- saturation -- that we have a the twelve colors and we're getting. Of photograph that look like they did that -- film you have to go to see diploma from the beginning you know paper you -- release of color and I think that's really exciting to be."

" We're home we'll die some relation didn't have quite the problems -- the forecast isolation and habitat they had its own particular shortcomings in my Kodak prints from -- eighties and early -- are still quite vivid enough. So they they did have a great deal of longevity in their initial reports. But when you talk about getting. The image on the paper in many ways is a photographer that's the only point that I really feel that the image the photograph the -- Because I've been -- print -- sincerely 1970s. When I first started doing photography. And that process of realizing the photographed him over and other community. Means realizing a photograph onto piece of paper. And so that final print processes and -- vital to my expression of my photography. And in every form and I can think of a gallery is the place from where Hussein. And whether it's someone's wall in their improvised home gallery here in the formal gallery and those of the kinds of places. Give the photograph a chance to be in can be seen to be appreciated in ways that. Go right back to the motivation picking up the camera to begin with -- of share something. And I teach a lot of digital printing classes. And -- have the same opening slide about. The challenges and rewards of -- I say that perfection maybe even go but I've -- she didn't. I also say that printing is joyous and painful then from that magic of the image coming up from the -- home. In the darkroom where you first saw. Or the inkjet printer first becoming visible is that comes out of the printer there is magic there yet but some time is of the paying. And giving it to be exist exactly what you want it to be that these this nears the technology allows us what frustrates people."

" Well I first seen things called the 1900 I'm thinking. The amount of paper and ink has gone there before you start to see it is that. Hole when they boot it's gotta go about this part of right oh my god that's not good ya gotta stop the -- but there is there is magic they would start to actually see this thing coming is in this one they received -- of the cameras went into CNN the camera. Going to see you on that paper especially big. That's what it really comes to life that's on the emotions really start to strike."

" Well unfortunately. With every step of the photographic process were essentially. Funneling a larger reality. Into a smaller set of color capabilities. The camera. -- really can't encode everything the GICs more that is there so that becomes they funneling mechanically if you will into whatever the silicon record. When we bring it into Photoshop we impose color definitions on those. Recorded values than it actually becomes define color that's what working -- faces -- But then of course the task is to get it on to a piece of paper which is yet again a subset of color possibilities. And so with each of those steps. That really helps to employ a well color managed work. Because color management really does work maybe not a 100% but certainly in the high nineties. And so many people are looking at their photographs and experiencing them. Without even calibrate their monitors much less driving a profile of those markets. So step one if you've got to calibrate and profiling your monitor. And that have to be done with external -- hardware. Otherwise your portal into your digital photograph is out of control by definition. And certainly that's the biggest haul the printer companies did. Your printer doesn't look like my monitor well unfortunately half the time -- monitor doesn't look like they're file. And that's the problem there so we have this first step of making sure the monitor is calibrated. And then trying to get through the printer dialogue boxes wastes. In some ways they're almost like navigating through -- Rather than a straightforward series. Questions and answers your logical and laid out a new ways that the average person can follow. It seems like so much of what we've battled back in trying to teach people how to print this trying to do you code. Rather poor user interfaces that are designed into these printer dialogue boxes. So that if you know if you manage the color front. In Photoshop you've got to turn off color management later on in the -- senator HP or -- driver. But to see the relationships between how that works."

" And to make sure that you do that in sequence that is logical. Is a bit of a challenge unfortunately it doesn't need to be just currently hints. And a lot of people print before they really finished editing their file. They in fact take it to a certain point not really know -- quite it will print my cannot really knowing exactly what they want. And they end up printing in the -- editing their file for basic appearance issues that has nothing to do with the -- necessarily. But because they really didn't fully understand what they want of the photograph to look like to begin. If it's amazing that much time we spent an -- class. Just working on image --"

" A question I had a lot from people who is like. Profiles yeah where these profiles is that a side view of the picture now what are these profiles will help crucial other profile that I know did you break your own programs for a lot of stuff do you live specific profile -- piece. No we're not quite at that point yet but I think that we need to get -- hands."

" Our good friend Bruce Frazier and I had a few arguments about the value I'm convinced there is value Bruce wasn't. But before we go down to image specific profile let me ask -- bigger question which is what is a profile it's basically a description of the color and little woman's capabilities of the device. Whether it's a monitor or whether it's ink on a particular paper with a particular set of settings and so I guess I have a printer profile for. The -- you love museum -- paper that I work with humming along designing. That means I've got a profile. Of that paper on a particular printing printer. -- a particular set of settings with a particular I think. And so profile as the color capabilities that that combination of settings can deliver. And it describes they overall set of capabilities. That Photoshop -- and transform the colors of your photograph. Into what the printer can print. And therefore that's how color management creates that printing --"

" It's plug let -- to see you have an image that's like. The one we saw behind this last week which had a a lot of blue moon behind is not right now I have a lot of -- and that brown at the bottom. But it has -- images are primarily regiment of black and white do we change your profile you have go to the same printer and we tweak in some way or what happens lot of this."

" Point in time I think there might be value -- that long term but the profile. Currently is that profile of the devices capabilities. None of the specific interpretation of this photograph into that device but there is -- value of their long term but that's not we're -- right now there and in fact we're doing it on table based. Calculations not actually calculating number by number placement. So there's error introduced because of the fact that we're doing this kind of primitive way when computers were much slower. Than we could be doing it now so that's my. You know push toward enlarging what the ICC here international color consortium developed the standards as well. So. That transformation. Will not be able come out. Every color that might be in a photograph. Into that exact color on to the printer on a piece of paper it past the map it to what colors that. Printers capable. In the process of that all color might end up getting transformed. And so the print is definitely an interpretation of the file. Rather than an accurate representation. Of file and in that interpretation. We sometimes are disappointed sometimes -- delighted. Sometimes we have to make modifications and our expectations. Sometimes we get surprised and see things in the print. That we never. Imagined being there in terms of nuances of tone color the delight -- naked it can really go back for more all sorts of last. But that doesn't mean that the degree of precision can't be brought to the process. But it's a degree of proficient with other than anything near perfection. And so we can. Take."

" A lot of the variables under control. But we have to do it in a very careful way. You edit your file first. You choose an appropriate size of the print to the resolution of the original file rather than enlarging it all over the place and making your -- look fuzzy and ugly. Having some sense of vision of the beauty of photographs of the you have a sense of what you're photograph might be. Can really make a difference and then we try to -- carefully color managed to transformation into the specific paper. And given that kind of work flow -- you're being careful methodical not making random decisions about making two or more variable changes at a time you really can't take a lot of this wild card stuff and bring it under control computer."

" So -- question I got if these people out there is that you and I would make our own friends but. Both people have these little. -- And print that out of big giant 44 and paper. Okay now we're gonna do they felt they don't profile that should they have profiles on that -- the service bureau it's worth anything will have a profile -- whatever papers that they intend to print and I noticed that a lot of people will complain because service -- aren't saying hey you know his profiles that they just take the thing and and sped it up. So it the the person should be active and request those profiles right."

" Well if you're gonna it's a question of the work flow are you going to transform it into the printers space which is a poor idea generally when more are they going to. And it really should be done at the printing level you really don't want to transform your file into a printer space. Because it so limits the possibilities of the code that can be contained and it limits the possibilities of how you do that restoration. Because it's already fixed in time and space. So that's the responsibility that the service bureau ought to take responsibility for. If they don't have profiles for their printers they probably don't have a profile work flow and you probably want to find the service. Another point would be is that you -- lately ten and that's all your file containing a lot of big 44 inch wide print it probably gonna look fairly poor to begin. You know there's a reason in the history of photography that we care read large format cameras. It's because we -- to create big detail print. That hasn't changed -- digital and I just because you can do an image size and Photoshop and make up all sorts of new stuff. Beyond what's already been made up to derive your little digital camera photographed. From the Bayer pattern sensor which two thirds of its already made up. Years and to think about the fact that if you want a big print you really ought to think about getting a bigger camera or bigger sensor that or stay with large format film -- Because the inherent breakdown and lack of beauty that comes from that over margin I think as one of the down files with the grain and everything else as well. -- it is grant but more often than not just laziness because they're making -- so much and then limit tendency to over sharpen. And over saturated the point that you create all of these really ugly artifacts. And you end up with something that is often a mess. That if done in a more modest fashion could've been exquisite. There's no inherent beauty mark between size. And print beauty it is not an equivalent. You make a -- and that's appropriate to the resolution of the file or maybe slightly larger. That if you get grandiose you really gotta be carrying bigger camera. That is gonna that they wanted to say about the whole color management process that's something people forget about all the time. Is they get their monitor calibrated. They sometimes even do their own custom profiles of the printer but then never control there editing rooms that they have control light and there. And don't bring an appropriate viewing like to inspect the -- When you calibrate your monitor you calibrate it to a particular point point Mike 5000. -- 6500 Kelvin that's basically a color of white. We can now what these compact fluorescent bulbs that are appearing everywhere we can actually get a 5000 Kelvin compact fluorescent bull -- 6500. Kelvin compact fluorescent bulb. And actually in a normal inexpensive -- slam match the viewing lines that we're expecting the print. Under to the white point if you tune your monitor to that's a critical capability because if you're not looking. I just -- in the same lighting conditions that you've calibrated your monitor to you've got an inherit this citizen control again. So it's a very cheap thing you can now do take that final step and make sure that you're speaking the same language."

" Very important stuff. Very important stuff so you guys out there are taking assurances a lot to consider. Don't let him. And even anyway having that to creative juices flow but. There's not considered to make something really look good to create a piece of mark green -- and -- is just clicking the camera it's feeling it. Getting something from it and then that does that convey it to somebody else glad damaged at all these things. -- There's anything you guys would like to see on the show email me at -- and -- we dot com. You don't just got the pixel perfect of that revision3.com. Forward slash form where you can join discussions about the show and maybe even influence the future episode. And you want you like to replace Stevens back here. Yep you can does send me artwork into Burton's vision through dot com and background should it be 1280 by 720 pixels. 1280 by seven to -- And it should be a JPEG file. Hopefully you learn something from all this is put into practice cut out there and play have a good time uses all part of a fun. If you do you love your network dating life with the hopefully next."